Claire Fulton

Watching films ties with eating macaroni and cheese as my favourite past time. In December of 2001, my parents took me to see The Fellowship of the Ring. There, I fell in love with cinema and decided my life-long dream was to be a Hobbit. Unfortunately, I’m still working on that, as I inevitably get side tracked into watching a film I’ve already seen three times on a streaming service while the DVD gathers dust on my alphabetised shelves and forget to move to New Zealand.

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Night Shift: (Un)Realistic Police Work (FFF Review)

Character-driven police drama Night Shift, from director Anne Fontaine, tackles the weighty theme of morality, but doesn’t quite stick the landing.

Martyr (Film Review): An Artistic, Meditative Portrayal Of Grief

Mazen Khaled’s Martyr is a meditative, sentimental film about the complexities of loss and grief within an impoverished area of Beirut.

A Brixton Tale: A Well-Edited Romance (GFF Review)

A Brixton Tale is an intimate look at the power privilege has on the way stories can be controlled, and an impressive debut from Darragh Carey and Bertrand Desrochers.

The Burnt Orange Heresy: Intriguing Pretentiousness (Review)

In the search for meaning, Guiseppe Capotondi’s The Burnt Orange Heresy doesn’t quite reach the artistic heights it aims for.

It’s A Sin (Review): The Euphoria and Heartbreak of 1980s Britain

Russell T. Davies’ phenomenal series It’s A Sin tells the story of the AIDS crisis in 1980s London through a group of friends who loved through it.

Ruth: Life and Legacy of Justice Ginsburg (Review)

A touching tribute to a truly remarkable woman, Ruth: Justice Ginsburg In Her Own Words tells the story of Ruth Bader Ginsburg’s inspirational and ground breaking life and career without resorting to schmaltz.

Happy Cleaners: Introspection on the Immigrant Experience (Review)

Happy Cleaners is an affecting film about life as an immigrant, as the children of immigrants, and as a family.

The Exception (Undtagelsen): Visually Stylish, Narratively Messy (Review)

The Exception (Undtagelsen) suffers from a languorous pace and its over-reliance on metaphor leaves it feeling a bit muddled.

We Are Who We Are: Guadagnino’s Small Screen Self-Discoveries (Review)

We Are Who We Are is a coming-of-age drama series from Luca Guadagnino – his first foray into television – that starts slow, but does eventually blossom.