UNDER THE LANTERN is less concerned with social issues as some of Lamprecht’s other titles, but does highlight the vulnerability of women in the face of male dominance.
CHILDREN OF NO IMPORTANCE was part of the series of Enlightenment films produced in Weimar Germany.
There is plenty that is lovable in the absurdity of THE BOY WHO TURNED YELLOW, according to Andrew Nickolds.
MEND AND MAKE DO, an animated short by Bexie Bush, tells the heartfelt story of a love life lived without regret, writes Nick Kitchin.
With unique access to the recordings of Ted Hughes reading what he considered his masterpiece, this film tells the story of CROW – a dark reworking of the Genesis story.
The bar is high for MONSTERS UNIVERSITY, but it doesn’t completely fail, according to Lizzie Scourfield.
Woollen tank-tops have never looked so cool, writes Edd Elliott.
An air of French sophistication, intense privacy, a peripatetic pack-rat’s mound of carefully packed-up junk and a camera around her neck. FINDING VIVIAN MAIER.
Hong Khaou’s LILTING reaches an important landmark within the potentially staid coming-out story framework, writes Emma Wilkinson.
Tamar van den Dop mingles the majestic and the mundane in her darkly comic coming-of-age drama SUPERNOVA.
GOD’S POCKET tells the darkly comedic tale of how a small neighbourhood is rocked by the suspicious death of a young man. James Walpole reviews.
Jon Toomey steps outside the mainstream with the exquisite THE GRAVEDIGGER’S TALE, which explores the wider cultural and emotional impact of mortality.
The ICA Artists’ Moving Image Network offers an ongoing series of screenings of new and rarely seen artist film and video work, at Manchester’s Cornerhouse.
British Horror doesn’t get much more weird and subversive than BLOOD ON SATAN’S CLAW, according to Edd Elliott.
‘TIL MADNESS DO US PART is a world of delirium but also of sensation, patiently exposed by the director, Wang Bin. Tianyi Shen reviews at EIFF.