Holy Motors
Despite Carax’s arch claims to the contrary, HOLY MOTORS is most easily read as both a love letter and an elegy to cinema. See it at 20.00 this Sunday, the final day of the festival!
Despite Carax’s arch claims to the contrary, HOLY MOTORS is most easily read as both a love letter and an elegy to cinema. See it at 20.00 this Sunday, the final day of the festival!
A small ensemble cast are led by Dakota Fanning as Tessa in NOW IS GOOD, expertly walking a tightrope between adult insight and teenage rage. Sarah Longfield reviews.
COMIC-CON EPISODE IV: A FAN’S HOPE is a funny and amiably diverting documentary, but it ends up providing no insight into its subject matter, writes Jim Ross
Underscored by the otherworldly music of Anda Union themselves, this documentary follows the band as they venture out of their modern city environment, back to rural Mongolia. Tom McNeill reviews.
Lack of edge in character stops any real tension developing in the tight, claustrophobic TOWER BLOCK, writes Edd Elliott.
Black marketeer, bandit, separatist hero and murderer of innocents – the story of SALVATORE GIULIANO kicks off the Francesco Rosi season today at the Arts Picturehouse.
HIT AND RUN, for all its faults, manages to largely avoid some of the more lazy and offensive attitudes and stereotyping that has beset recent American comedies, writes Jim Ross.
Luis Tosar stars in MIENTRAS DUERMES, playing César, a downtrodden janitor who just wants to be happy – and to this end, ruins the lives of the tenants in his building, like an evil AMELIE.
Toni Espinosa, producer of THE NIGHT ELVIS DIED talks to Liam Jack at the Cambridge Film Festival about the film’s production, his cinematic influences and the state of cinema in Catalonia.
Shot over a period of seven years on bleary Super8 film, GRANDMA LO-FI gives an amusing insight into the working mind and thought processes of a septuagenarian garage rockstar, writes Huw Oliver.