‘What’s wrong with bacon and eggs, fish and chips, and Gary Glitter?’: Horace Ove’s Pressure (1976) and the dialectic of Black British identity
KELLY HOOY reviews Amulet, a gothic horror film on female rage, directed by Romola Garai. Romola Garai’s debut film, Amulet (2020), is a bold yet..
ELLA SARAX reviews Milica Tomović’s debut feature, Celts, considering its search into post-war Serbian minds. Celts (2021) is the debut feature film of Serbian..
TOMI HAFFETY reviews Rian Johnson’s latest release Knives Out. Knives Out is a refreshing, modern and utterly witty whodunnit which reclaims the tired genre and gives..
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..
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..
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..
THOMAS NGUYEN reviews M/M as part of SAVAGE’s coverage of Fringe! Queer Film & Arts Festival. Drew Lint’s M/M is a modern-day tale of obsession. It follows..
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