We watch a young boy wander along a windy shoreline in the middle of the night. With him, he’s got his dog, a backpack, and a torch which he shines out onto the sea. He’s looking for the mythical creature that supposedly lurks in these waters. This is the last time we (or anyone else) […]

One of the worst habits many film critics partake in at film festivals is firing off a tweet declaring that they need to let a film “marinate” after initially seeing it, so desperate to voice an immediate reaction even if they haven’t found the words to adequately describe their feelings. And yet, while watching Nadav […]

Stories about artificial intelligence in cinema are often told from a distinctly male point of view. From recent indie hits like Spike Jonze’s Her and Alex Garland’s Ex_Machina, to a history of more fantastical narratives like John Hughes’ Weird Science, films about AI always seem to posit a relationship between user and machine – the […]

14-year-old Nour (Maël Rouin-Berrandou) trudges across his council estate, flip-flops smacking against the concrete as he struggles with a hefty laundry bag and a five-litre bottle of water. It’s the height of summer, and while other kids are out playing or attending summer camp, Nour spends his days either completing community service work or looking […]

The feature debut of director and writer Pascal Tagnati, I Comete is a lulling but earnest exploration of the small town of Tolla situated in the very heart of the island. Examining romance, friendships, family conflicts, and everyday snippets of life – Tagnati samples cinéma vérité aesthetics and techniques to create a fictional, layered, and […]

In cinema, drug and alcohol addiction is often treated like the darkest iteration of Chekhov’s gun: if someone says they’re in recovery in the first act, expect them to relapse in the second. Because of this narrative cliche, very few films directly grapple with the realities of rehabilitation, and that rather than being an end […]

There’s a reason the “everything is connected” brand of big screen storytelling is widely mocked. Although the likes of Robert Altman’s Short Cuts and Paul Thomas Anderson’s Magnolia managed to find profundity in the semi-interlinking lives of vast ensembles, films such as Paul Haggis’ Crash and the collected works of Alejandro González Iñárritu have made […]

Wai Bhone (Okkar Dat Khe) sits across from his producer in his office. His producer pours over Wai Bhone’s latest film script. He crosses out lines and spits out suggestions – cut out smoking scenes – they set a bad example, make the criminals more polite – we must show how polite Burmese people are, […]

While not as stylistically apparent as Kim Jee-woon’s The Good, the Bad, the Weird (2008), Kundo: Age of the Rampant by Yoon Jong-bin is the second highest budget South Korean film, made by using western conventions. The film’s plot is firmly embedded in the late Joseon period and deals with a gang of thieves called […]

Film festivals carry an element of prestige, despite being one of the worst possible ways to watch and assess movies. When you’re watching a minimum of four films a day, films that would otherwise captivate you under normal circumstances become schedule fillers, the festival experience making it easy to wax lyrical about the work that […]