No work Green goes on to produce will be ever be as visceral and as as unwavering in its design as that striking first outing, writes Richard Hensby.
“The tranquil aesthetic of THE SUMMERHOUSE is matched only by the cast, who effortlessly embody a carefree youth, ripe for the blemishing.”
Marta Cunningham unveils a mass of dark and intolerant attitudes that threaten the memory of an innocent teenager who simply wished to explore his identity.
Any suspicions that this will be a dry, academic exercise are dispelled when the film opens with a clip from THEY LIVE, writes Jim Moore.
“As a first time feature director, Mulloy deserves great credit for seeking out inventive and fresh framing for this clammy and claustrophobic story.”
MOVIEMAKERS is an enjoyable and spirited skip up the King’s Road to the land of hard-to-believe, writes Alison Hicks.
Robbie Griffiths reviews the short films which spawned Roland Klick’s legendary cinematic features, screened at Cambridge Film Festival.
Amanda Randall asks: “Isn’t there another way to encourage interaction with nature that doesn’t involve creating a gigantic carbon footprint?”
“A WORLD NOT OURS quickly establishes itself as a deeply personal portrait, captured almost by accident amongst a wider political polemic.”
This Kosovo-set war drama is emotionally engaging despite its overly familiar plot and characters, writes Gavin Midgley.