CROSSING POINTS explores the memory of space and its atmosphere, according to Hannah Clarkson.
THE VIEW FROM OUR HOUSE is as much about what is unseen, as what is depicted, according to Hannah Clarkson.
WE ARE MANY gives a new perspective on the 2003 protests, but could maybe do with a bit more balance, according to James Walpole.
TASTING MENU suffers from a lack of identity, according to James Walpole.
THE LAST EMPEROR 3D is a worthy conversion that enhances the film thematically as well as visually, according to James Walpole.
AMOUR FOU sends its audience into contortions with its stifling uneasiness, according to Edd Elliott.
Lizzie Scourfield talks to the minds behind BEFORE I GO TO SLEEP, director Rowan Joffe, and the writer of the novel, Steven J Watson.
NOT-SO-SILENT MOVIES is set to release your inner child, according to James Walpole.
BERLIN, SYMPHONY OF A GREAT CITY provides a poetic ode to the metropolis, according to Stephen Watson.
You don’t have to know or even like Nick Cave’s music to be engrossed in 20,000 DAYS ON EARTH – there are simply no dull moments, writes Carya Maharja.
Unusual but charming is Sarah Lambert’s description of ATTILA MARCEL.
SCHOOL OF BABEL, Julie Bertuccelli’s consideration of multicultural Paris, layers the personal stories of children newly-arrived in France.
20,000 DAYS ON EARTH has the feel of a hallucinatory interview, according to Carya Maharja.
Although repetitive, WATERMARK has all the capability to sweep the audience away, according to Carya Maharja.
VIOLET is a confident feature debut from Bas Devos, with a strength lying in its visual storytelling, writes Jim Ross at CFF34.