Mar Coll and Nora Navas have crafted a sympathetic and human portrait of a woman in crisis, writes Rebecca Naughten.
Christian Schwochow’s 1970s-set period drama explores the Cold War division of the country, whose legacy is still felt within Germany today.
From familial concerns in LA ISLA to alien invasion in THE LANDING: Emma Wilkinson looks at the value and dexterity of short filmmaking showcased at CFF2014.
BEFORE I GO TO SLEEP is a well-structured, skilfully acted thriller which loses its effectiveness after it places its cards on the table, writes Elliot Wright.
Although amusing and thought provoking at times, Gia Coppola’s directorial debut drives toward style over substance, writes Katrina Smith.
John Cassavetes’ semi-improvised debut film still has an immediacy and realism that outpaces many modern indies, writes Jim Moore.
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.