Kinky Gerlinky


Student writer Lee Renwick announces “The Kinkiest Film in England”: KINKY GERLINKY, at the Cambridge Film Festival 2017



Ghost story, murder mystery or psychological breakdown? Mihai Kolcsar reviews ROKKUR/RIFT at the Cambridge Film Festival.

The Wages of Fear


There’s plenty of set-up in this famous thriller, but once the nitroglycerine gets moving, the tension never lets up.

Ask the Sexpert


Banana alert. This preview contains suggestive allusions — carrots and mascara tubes also appear in ways that may offend.



While love may be hard to muster for this film, a deep and lasting admiration should be much easier to find, writes Mark Liversidge.



An imaginative, visually arresting portrait of a Moldovan teenager as her life changes over the course of a year.



Michael Glawogger’s unwavering eye for often uncomfortable images comes into its own in his documentary UNTITLED, writes Stephen Watson.

The Forest of the Lost Souls


A black and white Portuguese horror combining old-school style with enough blood-letting to satisfy horror aficionados, writes April McIntyre.

Rescue Under Fire

Rescue Under Fire Feat

RESCUE UNDER FIRE is a tense, energetic tale of courage and fortitude, writes Ben Johnston.

120 BPM

120 BPM Feat

120 BPM might be the first film to successfully capture the larger experience of HIV and AIDS sufferers while not losing sight of their struggle on a personal level, writes Mark Liversidge.

In the Same Boat


The theme of Catalan director Rudy Gnutti’s latest work is no less than the future of mankind (spoiler alert: some hope – but not that much).

No Land’s Song

No Lands Song Feat

A thought-provoking look at women’s rights in Iran, through the power of the female voice.


Habit Feat

HABIT is an excellent show of film-making, displaying a plethora of directorial skill, writes Jack McCurdy.

Tonight She Comes

Tonight She Comes Feat

TONIGHT SHE COMES is a smorgasbord of over-the-top gore, sex, evil hillbillies, satanic blood sacrifices and the supernatural, writes April McIntyre.

Microcinema: I am a Spy


Are we the spies, or the spied upon? How does the personal become public and the public become personal?