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.”
Forget mid-western tumbleweed or the dusty horizons of southern Italy – DARKNESS trucks the violent western to the green fields of Ireland.
Faye Gentile interviews Daniel Fawcett artist and director behind SPLENDOR SOLIS
Rosy Hunt reviews HORSE MONEY, the latest and perhaps the greatest Fontainhas feature from Pedro Costa.
If there is one true rule of filmmaking, it is this: You don’t kill the dog.
Claudio Zulian splashes on the light and architecture in this historical slice of Barcelona in the 18th century.
Edd Elliott compares festival films.
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.