These eco-activists bagged £100,000 in one year, to save South American rainforests. But does Michał Marczak’s doc show them as a bunch of hypocritical trustafarians?
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.
Treading a fine line between creepy and charming, IN THE HOUSE ingratiates itself with the audience before pulling off a nimble series of twists and reversals.
Seven films from the festival travelled to Belfast for the first time this year, for a week of showings at the Queen’s Film Theatre. Noel Megahey reviews.
The streets are waterlogged. The workers are revolting. Antonioni’s GRIDO is a simple tale of lost love and bleak perambulation, of snatched moments and merciless mechanics.
Marco Bellocchio’s approach to the subject of assisted dying demonstrates why he is still probably the most important filmmaker in Italy today, writes Noel Megahey.
The annual Far East Film Festival in Udine, Italy is one of the most important Asian film festivals in the world, and proves how cinema is itself already trans-national, writes Hiu Chan.
Murder, drug binges, espionage, prostitution… the early British film industry revelled in salacious behaviour fit to match any Hollywood gossip column, writes Amanda Randall.
“The personal impression I always take away from a Belfast Film Festival is one of a programme of intense, gritty and challenging new international cinema. The 13th BFF was no exception.”
You have to adjust your view of traditional film narrative and structure if you want to get the most out of an Abbas Kiarostami film, writes Noel Megahey at Belfast Film Fest.
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.
At the Queen’s Film Theatre in Belfast, the Belfast Film Festival overlaps with the Italian Film Festival this week. Rosy Hunt looks back at a classic Italian anthology film.
Gavin Midgley speaks to producer Rebekah Tolley about the making of acclaimed documentary WE WENT TO WAR and its director Michael Grigsby.
An overly ambitious, sprawling drama with commendable performances. At the heart of THE PLACE BEYOND THE PINES there is an engaging film, but it is lost in an abundance of narrative.
RADIO FREE ALBEMUTH, which screened at Belfast Film Festival, is the closest we’ve seen yet to Philip K. Dick’s vision being put on the screen, writes Noel Megahey.