This month’s theme is lesbian Belgian directors. Chantal Akerman hates labels but fits the bill. We look back at her drowsy meditation on Proustian obsession, LA CAPTIVE.
Murder, drug binges, espionage, prostitution… the early British film industry revelled in salacious behaviour fit to match any Hollywood gossip column, writes Amanda Randall.
On the 20th April, British Silents and BFI presented an all day programme of London-related film at London’s Cinema Museum. Keith Braithwaite describes the experience.
The Jim Jarmusch Collection brings together the ready, steady and go of the director’s landmark career. Rosy Hunt compares BEAUTIFUL WORD, Jarmusch’s student debut, to his later works.
“They make phone calls without saying hello or goodbye and in-between speak only in imperatives, replying in monosyllables.” Martin McGuigan looks at the wild world of Noir.
There aren’t many cinemas left in this country that are over 100 years old. Happy centenary to the pioneer of the Picturehouse group: the Phoenix in Oxford!
When a scientist starts to experiment with a drug which makes him invisible, little does he know the trouble it will unleash. But the star turn in THE INVISIBLE MAN is hysterical landlady Una O’Connor, writes Eve Stebbing.
The documentary panel at Watersprite explained how the opportunities that documentary filmmaking offers can lead to a filmmaker changing the world.
Jonathan Toomey experiences the extraordinary diversity of this leading UK animation festival.
Despite the fact that Johannesburg is thriving with various film activities, schools, clubs, studios and many cinema complexes, it was only in February 2012 that the first Jozi Film Festival was inaugurated.
HITCHCOCK and THE GIRL use cinema to simultaneously observe and attack Hitch whilst airing the dirty laundry of a man who can no longer answer back, writes Ed Frost.
TAKE ONE writers have voted on Best Feature, Best Documentary, Best Short and Best Festival for 2012 as well as some one-off awards from individual writers. Cover image by Harry Hunt.
Koutaiba Al-Janabi’s LEAVING BAGHDAD is an intimate, unpolished road movie in which we accompany a gentle immigrant on his journey from Iraq to London. The Independent Film Trust and the Cambridge Film and Media Academy are organising a free screening at Magdalene College in March.
With the gathering momentum of Future Shorts, the world’s biggest global pop-up film festival, Spring 2013 is certainly going to be worth seeing, writes Edd Elliott.
Guest writer Simon Baron-Cohen, who introduced the Cambridge Arts Picturehouse screening of WHAT’S EATING GILBERT GRAPE?, looks at the film’s portrayal of autism.