Federica Roberti reviews the unusual and slow-burning thriller ROOM, adapted from Emma Donoghue’s best-selling novel, at the BFI London Film Festival.
At its best, SICARIO arrests attention and has a patience that draws out an incredibly tense atmosphere. Jim Ross reviews.
You thought FIFA was corrupt? Take a look at the body governing world cricket.
“A truly wholesome watch, maybe even John Clare would have been happy,” writes Faye Gentile.
Scriptwriter Luke Davies takes a fresh and raw approach to portraying two juxtapositional characters in LIFE, writes Faye Gentile.
One of Britain’s best arthouse auteurs delivers a transgressive tribute to one of Russia’s foremost artists, presenting him as a filmmaker, theorist, and above all as a human being.
Love is a broad, deep and many-layered subject, and it’s an ambitious topic in any medium, let alone a short film, writes Jack Stocker.
The director of DANCE IRANIAN STYLE claims he wanted to avoid a sob story, but was there no way to anchor a fiction film in realism while avoiding sentimentalism?
Set just before the financial crisis of 2008, the characters in LIFE IN A FISHBOWL are as dysfunctional as Iceland’s banking system became.
Elliot Wright reviews Sinisa Dragin’s story of Romania and its relations with Yugoslavia after the end of World War 2.
A man wrongly imprisoned for more than a decade on fraud charges is released in 2011, undeterred from his work in economics.
This film dealing with a poet’s urge to self-destruct is often unexpectedly, if darkly, funny.
UNTIL I LOSE MY BREATH’s bleakness is its virtue and its fault, writes Sarah Longfield.
Get those tissues ready: it’s the last Take One On Air of 2015. Edd Elliott and Ben Dalton give their round up of this year’s Cambridge Film Festival.
“99 HOMES can’t be faulted for its moral clarity and sharp commentary on a brutally competitive society.” Jim Moore reviews.