The cinema of Japanese master Hirokazu Kore-eda
Hirokazu Kore-eda won the Palme d’Or last month for his drama Shoplifters – it’s a long-overdue recognition for the spiritual successor of Yasujiro Ozu.
That Summer: The revenge of Grey Gardens
This new found footage documentary sheds light on the Beales.
François Ozon’s sexual thriller fails to ignite
The psychodrama should see Ozon back on home turf, but falls flat.
The Breadwinner fails to win our heart
The animation, set in Taliban-controlled Kabul, has good intentions, but a weak script and lack of direction.
On Chesil Beach: A strained drama that loses it in the last act
In Dominic Cooke’s directorial debut, he sticks closely to Ian McEwan’s original book, but it’s clear he’s more comfortable with the theatre, with many aspects of the film resembling a stage play.
Nailed It!, Netflix, and the death of modern TV
Netflix and other streaming services have brought with them a new raft of options for TV enthusiasts, but as they spread their resources thinner and thinner, hoping to get another hit, the viewers are losing out, lost amid a increasing pool of crap.
Lean on Pete: Transmissions from the Interior West
Andrew Haigh’s latest release is a new direction for the filmmaker, but sees him expanding his horizons for a modern-day western.
Isle of Dogs: A cute tail that lacks some bite
Wes Anderson shows us how much he loves dogs and Japan in his latest film.
A tale of two women
Let the Sunshine In and Funny Cow offer the audience the choice between two portraits of emotionally-complex women, while eschewing a sense of resolution.
Felix recommends the perfect TV for exam season
We give you our top picks for what to watch when you’re taking a ‘quick’ study break in Central Library.
You Were Never Really Here – A thriller crossed with a horror crossed with an intense character study
Joaquin Phoenix tracks down missing girls for a living and, unsurprisingly, things go wrong. Film Writer Lawrence Good looks into his descent into madness and gives us his take on this nightmare-fuelled thriller.
Can we break the glass chair, and bring more women directors into the film industry?
Currently only 11% of films are made by women. We need to try and break this trend, but could 2018 be the breakout year for women in cinema?