In anticipation of the BFI’s forthcoming Sci-Fi season, Gavin Midgley looks back at a landmark British entry in the genre.
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.
The CONNECTIONS strand of shorts at CFF explored the links and bonds between families; strangers; the person someone was and the one they may become.
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.
A fresh take on the ‘coming of age’ teenage archetype and use of social media help MARY IS HAPPY stand out above the sea of pretentious teenage films.
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.
THE POLICE OFFICER’S WIFE wields an enormous amount of power, but it presents a challenge for the viewer in almost every aspect, writes Mark Liversidge.
Carya Maharja looks at four works from recent students at the German Film and Television Academy, and an animation by an independent filmmaker.
Lamprecht never shirks from demonstrating the darker side of life in post-WW1 Berlin in his IN THE SLUMS OF BERLIN, writes Mark Liversidge.