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.
The Cambridge Film Festival’s second Surprise Film is a fascinating depiction of a difficult time in American history, writes Owen Baker.
Bethlehem is divided, literally, by a giant illegal wall of concrete dividing Palestine and Israeli areas. Sarah Acton reviews Leila Sansour’s OPERATION BETHLEHEM.
Cousins’ own childlike joy in the camera is manifest throughout A STORY OF CHILDREN AND FILM, writes Amanda Randall.
Hannah Clarkson reviews this touching portrait of Drako Zarhazar, THE MAN WHOSE MIND EXPLODED.
BLACKBIRD is a beautiful drama about Scottish folk traditions and values, but a style over substance approach lets it down, writes Sarah Acton.
Hannah Clarkson recounts the stories of the young dreamers in Tinatin Gurchiani’s quietly astonishing THE MACHINE WHICH MAKES EVERYTHING DISAPPEAR.
EMPEROR deals with an interesting moment in the aftermath of World War II, but Owen Baker isn’t convinced by its treatment of history.