Jim Moore reviews Czech classic CLOSELY OBSERVED TRAINS.
This beautifully realised romance makes it easy to suspend disbelief even after 67 years.
Cinematic depictions of idiosyncratic small town America are so commonplace that sometimes only the real thing will do, writes Richard Hensby.
“There’s something importantly likeable at work here, which is not something you can often say about tales of woodland bloodshed. Prepare to be unexpectedly seduced.”
Rosy Hunt reviews HORSE MONEY, the latest and perhaps the greatest Fontainhas feature from Pedro Costa.
Claudio Zulian splashes on the light and architecture in this historical slice of Barcelona in the 18th century.
Dare your subconscious to concoct some homebrew version of LET THE RIGHT ONE IN and ÊTRE ET AVOIR and you might ferment something like CHILDREN OF THE NIGHT.
Frank Hall Green’s WILDLIKE uses the strong imagery of the Alaskan wilderness to propel a simple yet engaging storyline, writes Yozzie Osman.
CFF’s German shorts are united in their appeals to the rawest elements of human experience: estrangement, desperation and our ultimate need for hope.
“A joyful experience…” Garry Pope reviews the short film strand FUSION: LOVE & DEATH.
THE VISIT imagines an alien craft has landed on Earth and explores the governmental, military and scientific response in the event of ‘first contact’.
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.
Modern-dress morality play ALL THE WAYS OF GOD takes as its starting point the character of Judas and the lacuna between his betrayal of Jesus and his subsequent suicide.
TRAINWRECK opens with a woman in her underwear, making out with a guy and talking dirty. But this film could not be more different from others of its ilk.