JARVIS CARR reviews Hogir Hirori and Shinwar Kamal’s wartime documentary, The Deminer. There is no music to accompany Colonel Fakhir in the introductory scene of The..
JONNY HARVEY reviews Carlos SorÃn’s 2004 comedy, Bombón: El Perro, shown as part of The Cinema Museum’s Argentinian Film Season. Bombón: El Perro is a minimalist offering..
LYDIA DE MATOS reviews Olivier Assayas’s latest film Non-Fiction. Concerned primarily with questions of the transition of media into the digital age, Non-Fiction (2019) is a..
THOMAS NGUYEN revisits François Ozon’s 2005 film Time to Leave. At the height of his career as a fashion photographer in Paris, thirty-year-old Romain (Melvil Poupaud) is..
SHANTI GIOVANNETTI-SINGH reviews Quentin Tarantino’s ninth film, Once Upon a Time… in Hollywood. Lemon Cadillacs, wild-west stars and hippy cults replace pumpkin carriages, princesses and evil..
BRUNO REYNELL reviews Ari Aster’s genre-defying Midsommar. Were it not for its overt title, the gloomy snow-filled landscapes that open Midsommar might tempt us into thinking..
HEATHER DEMPSEY delves into the cult of ‘bad films’ through the example of Tommy Wiseau’s famously mediocre take on the love-triangle. ‘Right, I’m just going..
LYDIA DE MATOS reviews The Favourite, Yorgos Lanthimos’ unruly take on the period piece. The Favourite is an intense deconstruction of what audiences have come..
MAEVE ALLEN reviews Widows, an unnerving heist thriller with feminist overtones. When four career criminals are killed in an attempted robbery, their widows take up..
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