EDINBURGH FILM FESTIVAL

LONDON FILM FESTIVAL

SUNDANCE FILM FESTIVAL

VENICE FILM FESTIVAL

TORONTO FILM FESTIVAL

Our People Will Be Healed: Cree Culture (Femspectives Review)
10 Spectacular Shorts from SIFF 2021
Wyrm: Popping Collars (SIFF Review)
Under the Open Sky: Kōji Yakusho Excels in Patient Drama (SIFF Review)
Mother’s Milk: An Entrancing Cinematic Odyssey (SIFF Review)
Father: It’s the 21st Century (SIFF Review)
Captains of Zaatari: Skimming the Surface of Refugee Camps (SIFF Review)
Summertime: An Electrifying Portrait of LA (SIFF Review)
The Dog Who Wouldn’t Be Quiet: Transient Bliss (SIFF Review)
Criollo: A Culinary Journey through Uruguay (SIFF Review)
Athanor – The Alchemical Furnace: Understanding Jan Švankmajer (SIFF Review)
The Unknown Saint: What Do You Believe In? (SIFF Review)
Caterpillars: Central African Republic Documentary Enlightens (SIFF Review)
The Shepherdess and the Seven Songs (SIFF Review)
The Legend of Hei: A Charming, Kid-Friendly Adventure (SIFF Review)
Sweat: The Woman Behind the Screen (SIFF Review)
Preman: Indonesian Thriller Disappoints (SIFF Review)
All Sorts: The Surreal World of the Office (SIFF Review)
Strawberry Mansion: A Journey Through Dreams (SIFF Review)
SXSW Online XR Took Us to Austin: Interview with Blake Kammerdiener
SIFF 2021: 10 Films to Watch
Alex Noyer and James Jagger on “Sound of Violence” (SXSW Interview)
Under The Volcano: The “Magic” of AIR Studios Montserrat (SXSW Review)
Stacey Gregg on Her Feature Debut “Here Before” (SXSW Interview)
Rūrangi: Celebrating Trans Representation (BFI Flare Review)
Clerk: Funny and Surprisingly Touching Doc (SXSW Review)
Reklaw: Quirky Vigilantes Clean Up Well (SXSW Review)
Cowboys: An Intelligent Portrayal of Transgenderism (BFI Flare Review)
Language Lessons: A Heartfelt Ode to Human Connection (SXSW Review)
The Drover’s Wife The Legend of Molly Johnson (SXSW Review)
Jump, Darling: Gloriously Funny, Seriously Touching (BFI Flare Review)
My First Summer: A Tender Tale of Young Sapphic Love (BFI Flare Review)
Mama Weed: Isabelle Huppert Elevates Comedic Crime Flick (FFF Review)
Writer-Director Elle Callahan on “Witch Hunt” (SXSW Interview)
Violet: Justine Bateman Gives A Voice to Anxiety (SXSW Review)
Jocelin Donahue, Joe Swanberg, and Mickey Keating on Offseason (SXSW Interview)
Violation: Complex and Dynamic Genre Thrills (SXSW Review)
Sound of Violence: Gory Midnight Fun (SXSW Review)
The Hunt for Planet B: A Masterful Doc of the Stars (SXSW Review)
Alien on Stage: The Best “Alien” Film Since “Aliens” (SXSW Review)
Swan Song: An Aging Hairdresser Looks Back on His Life (SXSW Review)
The Fallout: A Truthful and Traumatic Teenage Tragedy (SXSW Review)
Women Is Losers: Lorenza Izzo Is Winner (SXSW Review)
Witch Hunt: Fantasy Thriller Tackles Today’s Troubles (SXSW Review)
Offseason: Evocative and Exciting Horror (SXSW Review)
The Feast: A Slow-Moving Horror Drama Devoid of Scares (SXSW Review)
Paul Dood’s Deadly Lunch Break: Revenge At Its Most Glam-Rock (SXSW Review)
United States vs. Reality Winner: A Plea for Freedom (SXSW Review)
The Return: Her Life After ISIS (SXSW Review)
Our Father: The Complexities of Sorrow and Sisterhood (SXSW Review)
Broadcast Signal Intrusion: Harry Shum Jr Falls Down a Rabbit Hole (SXSW Review)
Recovery: COVID Road Trip Comedy is a Laugh Riot (SXSW Review)
Here Before: A Compelling Psychological Thriller (SXSW Review)
Potato Dreams of America: Coming of Age Dramedy Delights (SXSW Review)
Poly Styrene: I am a Cliché, Study of a Punk Legend (SXSW Review)
Luchadoras: Harrowing Filmmaking Highlights Heroic Women (SXSW Review)
Nathaniel Kahn on The Hunt for Planet B (SXSW Interview)
Home Front (Des Hommes): Psychological Wounds of War (FFF Review)
SXSW 2021: 15 Films to Watch at South By Southwest
Danielle Kummer and Lucy Harvey on Alien on Stage (SXSW Interview)
In Bed with Victoria: A Comedic Drama on Modern Women (FFF Review)
Night Shift: (Un)Realistic Police Work (FFF Review)
Stephen Meek, Mallory Everton, & Whitney Call on Recovery (Interview)
Beans: The Youth Are Starting to Change (Miami Film Festival Review)
Love Affairs: Subtly Complex Love Story Enchants (FFF Review)
Quo Vadis, Aida? – Revisiting A Dark Era (Miami Film Festival Review)
The Translators: A Whodunnit, a Howdunnit, and a Whydunnit (FFF Review)
Ludi: From Struggles to Strengths (Miami Film Festival Review)
Surge: A Sensory Pursuit for Primal Liberation (GFF Review)
Sin La Habana: Anything for a New Home (Miami Film Festival Review)
Director Aneil Karia on Feature Debut Surge (GFF Interview)
Our Midnight: A Captivating Ode To Lost Souls (GFF Review)
Castro’s Spies: Detailed Documentarian Captivates (GFF Review)
A Brixton Tale: A Well-Edited Romance (GFF Review)
Sweetheart: A Charming, Heartfelt Coming of Age Film (GFF Review)
Tina Releases the Singer from her Past (Glasgow Film Festival Review)
Back to the Wharf Values Density Over Simplicity (GFF Review)
Vicious Fun: Clever, Ironic and Effortlessly Entertaining (GFF Review)
Iorram (Boat Song): Traditions and Tales of the Scottish Hebrides (Glasgow Film Festival Review)
Dreams on Fire: A Fascinating Slice of Japanese Subculture (GFF Review)
The Toll: Black Comedy Meets Crime From New Welsh Talent (GFF Review)
The Mauritanian: Exposé on Guantanamo Bay Educates & Enrages (GFF Review)
Gunda: The Secret Life of Pigs (Glasgow Film Festival Review)
Jumbo: Coming-of-Age Shows Unconventional Love (Glasgow Film Festival Review)
Enemies of the State: A Reminder That Truth is “Never Simple” (Glasgow Film Festival Review)
Undergods: An Anthology of Despair (Glasgow Film Festival Review)
Riders of Justice: Flawless Storytelling (Glasgow Film Festival Review)
Da Capo: School of K-Rock (Glasgow Film Festival Review)
Cody Calahan on “Vicious Fun” (Glasgow Film Festival Interview)
The Old School of Capitalism: An Intriguing Study of Workers’ Rights (Review)
Land and Freedom: What Does it Take to Win a Revolution? (Review)
Flee: Moving Refuge Documentary (Sundance Review)
The World to Come: Smart, Moving Period Romance (Sundance Review)
Lou Ward on Tinker: “Memories are What Make ‘You’ You” (Interview)
Land: Robin Wright ’s Solid Directorial Debut (Sundance Review)
Hive: Rebellion In the Face of Patriarchy (Sundance Review)
One For The Road: A Heartfelt, Emotional Ride (Sundance Review)
Eight for Silver: Period Werewolf Film Thrills (Sundance Review)
Judas and the Black Messiah: Kaluuya Dominates Dynamite Drama (Sundance Review)
Prisoners of the Ghostland: Nicolas Cage Fights For Humanity (Sundance Review)
The Sparks Brothers: The Sundance Review Fanfare!
Prime Time: A Claustrophobic Thriller With No Thrills (Sundance Review)
John and the Hole: Mesmerizing Pyschological Thriller (Sundance Review)
Passing: Well-made Directorial Debut for Rebecca Hall (Sundance Review)
Cryptozoo: A Kaleidoscopic Adventure in Animation (Sundance Review)
Mass: An Immaculate Acting Showpiece (Sundance Review)
Try Harder!: The Hidden Cost of Being the Best (Sundance Review)
On the Count of Three: A Tense, Exciting Black Comedy (Sundance Review)
How It Ends: Amusing Episodic Comedy (Sundance Review)
The Pink Cloud: Vibrant Surreal Cinema Anticipates Reality (Sundance Review)
CODA: Silence is Golden in Deaf Family Dramedy (Sundance Review)
Seeds of Deceit: Thought-Provoking Fertility Doctor Case Study (Sundance Review)
When We Were Bullies: Meandering Nostalgia (Sundance Review)
Force of Habit: a Claustrophobic Contour of the Female Gaze (Raindance Review)
Stardust: A Bowie-Inspired, Bowie-Less Drama (Raindance Review)
Descent: A Free Dive into the Depth of the Human Mind (Raindance Review)
Sublet: The Lessons We Learn From Strangers (Newfest Review)
The Mystery of the Pink Flamingo: Inorganic Sexiness and How to Give In (Raindance Review)
Antarctica: a cynically comic high school drama (Raindance Review)
Materna: a Female Portrait of the True New York Life (Raindance Review)
Under the Open Sky: A Clouded and Bleak Japanese Drama (AFI Fest Review)
Non Western: Love, Conservatism and Modern Women (Raindance Review)
Apples: New Memories, New Lives (AFI Fest Review)
Smith: Local Crime Mystery is Worth Supporting (Indie Memphis 2020 Review)
Monsoon: A Smart Allegory for Vietnam’s Relationship with the West (NewFest Review)
So Late So Soon: Art in the Face of Death (Indie Memphis 2020 Review)
The Intruder: A Little Too Much Is Left to the Imagination (AFI Fest Review)
Nuevo Orden: Stimulating But Divisive Story of A Dystopian Mexico (AFI Fest Review)
Shadow in the Cloud: Deliriously Dopey Genre Fun (AFI Fest Review)
Collective: Timely Documentary Rewards Patient Viewers (AFI Fest Review)
After Love: a Film about Love and Revelations Distanced by the Channel (LFF Review)
American Thief: a Muddled Narrative Overshadows Some Good Ideas (Indie Memphis 2020 Review)
Ammonite: A Story Of Opposites Told Best By Hands (LFF Review)
Rose: A Love Story – A Dark and Tender Romance Challenged By Illness (LFF Review)
Belushi: a Moving, Textured Portrait of the Beloved Comedic Actor (AFI Fest Review)
Nine Days: A Stunning Investigation on Life (AFI Fest Review)
Sound of Metal: The Beauty of Silence (AFI Fest Review)
Shiva Baby: A Short Film’s Evolution Into One of The Year’s Best Indies (Indie Memphis 2020 Review)
Cicada: A Tender Love Story Bolstered by Authentic Performances (NewFest Review)
Limbo: An Ode to A Past Identity (LFF Review)
Wildfire: a Slightly Allegoric Tale of (Northern) Ireland’s Traumatic Past (LFF Review)
A Common Crime (Un Crimen Común): a Political Drama Disguised as a Thriller (LFF Review)
The Reason I Jump: a Sensorial Experience about Non-Verbal Autism (LFF Review)
Minari: A Beautiful Family Drama Steeped in Detail (Review)
French Exit: Michelle Pfeiffer Shines in a Surrealist Comedy (NYFF Review)
Chess of the Wind: Rediscovered Iranian Drama is a Revelation (LFF Review)
Undine: A Smart and Intoxicating Mythic Romance (LFF Review)
I Carry You with Me: a Deeply Moving Immigrant Love Story (Review)
Time: Delicately Made Documentary Beautifully Balances Hurting with Hope (LFF Review)
Supernova: Firth and Tucci Shine, But the Fireworks Do Not Go Off (LFF Review)
Farewell Amor: “So We Danced” (LFF Review)
Honeymood: What it Means to Be in Love with Someone, and with Yourself (LFF Review)
Herself: Dublin’s Heartfelt Story of Emancipation and Humanity (LFF Review)
180 Degree Rule: A Somewhat Predictable Yet Darkly Compelling Debut (LFF Review)
The Painter and the Thief explores the Strange Places Inspiration Leads Us (LFF Review)
Small Axe: Steve McQueen’s Remarkable Achievement (Review)
Mogul Mowgli: Riz Ahmed Excels, but the Film Stumbles (Review)
The Town of Headcounts (Ninzu No Machi) is the Best Dystopian Drama You’ll See This Year (VIFF Review)
Wolfwalkers: A Fantastical Folk Tale Full of Heart and Humanity (Review)
Virtual Film Festivals: A Conversation
MLK/FBI: One of the Year’s Best, Most Essential Docs (NYFF58 Review)
Waikiki: A Psychedelic Exploration of Trauma and Cultural Survival (Review)
On the Rocks: Sofia Coppola’s Caper Comedy is Classically Charming (NYFF Review)
Pieces of a Woman: Vanessa Kirby Shines as the Film Flounders (Review)
Summer of 85 (Été 85): Raw, Wise and Heart-Wrenchingly Good (Review)
The Palace on the Sea: A Poignant Look at Life After Death (Taiwan Film Festival Edinburgh)
The Father: Hopkins Ages Like a Nice Chianti (Review)
Where the Seagull Flies: Conventional Melodrama Doesn’t Take Off (Taiwan Film Festival Edinburgh)
Another Round (Druk): A Boozy Joy Highlighted By A Splendid Mads Mikkelsen (Review)
One Night in Miami: “It’s Been A Long Time Coming, But A Change Is Gonna Come” (Review)
Akilla’s Escape: Classic Noir Style Melds Beautifully with Modern Themes (Review)
Penguin Bloom: Naomi Watts elevates a formulaic drama (Review)
Nomadland: Frances McDormand Anchors an American Odyssey for the Ages (Review)
Genus Pan (Lahi, Hayop): Looking Back to Find Ourselves (Review)
The Bride Who Has Returned From Hell: An Entertaining Yet Flawed Drama (Taiwan Film Festival Edinburgh)
Six Suspects: A Melodramatic Murder Mystery that Delivers All the Genre Tropes (Taiwan Film Festival Edinburgh)
The Book of Vision: Sincere but Reductive (Venice Film Festival Review)
Get the Hell Out: A Riotous, Albeit Unfocused Zombie Comedy (TIFF 2020 Review)
A City Called Dragon: A Solid, Crowd-Pleasing Wuxia Thriller (Taiwan Film Festival Edinburgh)
Mainstream: “No-One-Special” To Fill Up Your Life (Review)
Ice Poison: A Desperate Life on the Edge of Poverty (Taiwan Film Festival Edinburgh)
TIFF 2020: 20 Films to Watch at the Toronto International Film Festival
Rebuilding Paradise: Ron Howard’s Crisp Next Step as a Documentarian (Review)
Little Girl: This Film Should Not Have Been Made (Review)
Saint Frances: “You Can Have Faith in People Too” (Review)
A White, White Day: How Ghosts Still Echo (Review)
Last and First Men: A Chilly Facade and an Intriguing History (Review)
Fanny Lye Deliver’d: Kind of Clever, but Ultimately a Bit Weird (Review)
Anthropocene: The Human Epoch – How humans are changing the Earth’s face for the worst (Review)
We Are Ten Shorts You Should Watch (We Are One Film Festival)
Crow: The Legend (VR) is a Shot of Pure Happiness (Review)
Ema: Hypnotic dance scenes cannot save flawed family drama (Review)
Loud and Clear Reviews Possessor movie Brandon Cronenberg Sundance Film Festival
Possessor: A smart, twisted take on the sci-fi horror hybrid (Review)
Never Rarely Sometimes Always: a genre-defying movie on the difficulties of adulthood (Review)
Bombay Rose: a piquant tale of love, magic, and imagination (Review)
Seeing the Unseen: female autism and how to fall in love with diversity (Review)
This World Won’t Break: the American Dream at its most real (Review)
Santiago, Italia: a lesson in history and on the frailty of truth (Review)
I Want My MTV: a Must-See Slice of Rock N’ Roll History (Review)
Dive: Rituals in Water: a soothing documentary about swimming and playfulness (Review)
James Vs His Future Self: time travel, sci-fi and life-changing conversations (Review)
Love, Antosha is the Most Important Film You’ll See This Year (Review)
The Report is Amazon’s Love Letter to Political Dramas (Review)
Seberg is a well-crafted thriller about human connection (Review)
Abominable is charming, entertaining and full of emotion (Review)
The Farewell: a delightful investigation on love and relationships (Review)
Pink Wall: a charming, merciless companion to human relationships (Review)
Martin Eden: the well-trimmed tale of an outdated Everyman (Review)
Marriage Story: The Red Carpet Interview (London Film Festival)
Jojo Rabbit is delightfully absurd and surprisingly poetic (Review)
Cold Case Hammarskjöld: Let’s Make Documentaries Great Again (Review)
Koko-di Koko-da: an overconstructed dark tale for sunny Sweden (Review)
“Making Waves: The Art of Cinematic Sound” is a celebration of creativity and a walk down memory lane (Review)
Le Cri: Edvard Munch’s The Scream comes alive in Virtual Reality (Interview)
An Officer And A Spy (J’Accuse): Jean Dujardin excels in Polanski’s drama (Review)
Loud and Clear Reviews The Laundromat Antonio Banderas Gary Oldman Meryl Streep Netflix
The Laundromat is the Panama Papers drama we didn’t know we needed (Review)
Ad Astra: Brad Pitt’s journey to Neptune is intentionally emotionless (Venice Film Festival Review)
Joker is Pure Cinematic Perfection (Venice Film Festival Review)
Loveseat: The VR Theatre Performance That Helps Us Feel (Interview)
Luce is a Clever Analysis of Human Nature (Sundance Film Festival Review)
Virtual Reality: our 15 favourite experiences at the 2019 Venice Film Festival
2019 Venice Film Festival: 25 films you need to watch
The Dead Don’t Die is that film you grow to love and you don’t know why (Review)
I See You: Helen Hunt stars in Hauntingly Good Horror Thriller (Review)
The Grizzlies: Miranda de Pencier on her extraordinary true story of acceptance and resilience (Interview)
Love Type D: Sasha Collington on Infectiously Enjoyable Rom-Com (Interview)
Ode To Joy: Martin Freeman shines in heartwarming rom-com (Review)
Schemers: interview with Dave McLean and Conor Berry (Edinburgh Film Festival)
The Captor: “absurd but true” Stockholm Syndrome story is not so absurd after all (Review)
Late Night: Thompson and Kaling inspire and entertain in insightful comedy drama (Sundance Film Festival)
Stan & Ollie is moving, nostalgic and full of heart (Review)
Extremely Wicked, Shockingly Evil and Vile: Zac Efron shines in Ted Bundy drama (Review)
Charlie Says: Matt Smith is Charles Manson in Powerful Psychological Drama (Review)
Virtual Reality VR Gloomy Eyes Eclipse Horrifically Real Virtuality
Virtual Reality: our favourite experiences at Sundance and Venice
The Bill Murray Stories: Bill Murray teaches us how to live (Review)
After the Wedding: Williams and Moore excel in exquisitely moving drama (Review)
Blinded by the Light is the Springsteen feel-good drama we needed (Review)
The Dress Up Gang: Interview with the comedy trio who turned hilarious hit web series into a show (Sundance Film Festival)
I Am Mother: Sputore’s clever sci-fi thriller is exquisitely unsettling (Sundance Film Festival)
2019 Sundance Film Festival: Final Line-Up
The White Crow: Fiennes’ Nureyev inspires and captivates at London Film Festival (Review)
“Making the film is absolutely secondary to experiencing it”: Roberto Minervini on What You Gonna Do When The World’s On Fire? (Interview)
Assassination Nation: “a Movie for Absolutely Right Now” (Review)
The Kindergarten Teacher is a Clever Analysis of Human Behaviour (Review)
BFI London Film Festival 2018: 30 films you need to see
The Favourite: Review (Venice Film Festival)
Best of 75 Venice Film Festival: Suspiria
A Star is Born and Vox Lux: the consequences of fame at the Venice Film Festival
Roma: Cuarón’s memories come to life in exceptional tale about identity
Virtual Reality in Competition at 75th Venice Film Festival: full Line-up and guide
“Anna and the Apocalypse” and the rise of the genre mashup
75th Venice Film Festival, “In Competition”: full Line-Up and most anticipated premieres
A Star Is Born: official poster (Warner Bros)
Bradley Cooper’s A Star is Born starring Lady Gaga will premiere at the 75th Venice Film Festival
Damien Chazelle’s First Man will open the 75th Venice Film Festival
some like it hot
75th Venice Film Festival: Restored Films Line-Up announced
Steel Country: Andrew Scott is exceptional in clever crime drama (Review)
Best of Edinburgh Film Fest: Unicorn Store (Review)
Three Billboards Outside Ebbing, Missouri is the Film you Absolutely Need to Watch (Review)
venice virtual reality
Venice Virtual Reality: the new shape of cinema at the 74° International Film Festival
Robert Redford and Jane Fonda in Our Souls At Night Netflix
Our Souls At Night is on Netflix today and is all about life after loss (Review)
Helen Mirren Donald Sutherland Venice Film Festival
The Leisure Seeker and Loving Pablo: the best and worst on-screen couples at the 74° Venice Film Festival