Edd Elliott compares festival films.
Hear Catalonia and you might think sun, sand and sangria. Sylvia Munt’s drama basks in few such pleasures.
Maria Ripoll’s TRACES OF SANDALWOOD is a real crowd pleaser, writes Nashwa Gowanlock.
PALIO explores the strange world of Siena’s famous horse race.
RIPCOR: RIDING WITH MAMILS is a modest, funny and inspiring film about a group of guys banding together, getting on their bikes and riding.
He may be a cynic, but Juan Schnitman reminds us why we can’t stop listening to that couple losing it in public.
Edd Elliott gives a low down of the under-the-radar themes of this year’s Cambridge Film Festival.
Jake Gavin’s treatment of homelessness, HECTOR, sits somewhere between CATHY COME HOME and THE FISHER KING, writes Jack Toye.
“You can’t go cutting down them there trees, because there’s mythical creatures you’re really going to annoy!” Jack Toye reviews THE HALLOW.
Metaphysics, mortality and marriage sweat it out in the arid desert of Death Valley, California, in Guillaume Nicloux’s new feature, VALLEY OF LOVE.
Let last entry’s queuing situation be the only cloud on the horizon for this year’s Cannes Festival. In truth, it has been a wondrous experience.
“Queue” is a dirty word in France, and at Cannes it’s a bad word for Jack Toye in particular.
Jack Toye reviews CEMETERY OF SPLENDOUR, competing in the “Un Certain Regard” section at the 2015 Cannes Film Festival.
Live from the 2015 Cannes Film Festival, Jack Toye predicts the Palme D’Or, and reviews entries by László Nemes and Miguel Gomes.
Jack sees his first film of the festival in the Quinzaine des Realisateurs strand, Miguel Gomes’ ARABIAN NIGHTS