United Kingdom
Tell It to the Bees is a pretty dreary period piece, and one that doesn’t sit well in the current landscape of queer cinema.
Red Joan is suffocatingly mediocre, a political thriller with no interest in the politics of the story, or anything remotely thrilling.
Jessie Buckley is a star, and the fact she makes Wild Rose almost worth watching is testament to her skill as an actress.
Where Hands Touch is a disappointing and sketchy depiction of a tragic romance during one of history’s darkest periods.
The White Crow boasts an excellent lead performance from Oleg Ivenko, but the central character remains cold and distant throughout.
While groundbreaking or original, The Aftermath is worth seeing for the enticing performances and striking ambience that it establishes.
Whether you opt for the subtitled version or not, one thing is for certain: Babylon is a hidden gem worth seeking out if it comes to your city.
In our second review from SXSW 2019, Hazem Fahmy reviews The Beach Bum – a fantasy with no real-life application.
When it comes down to it, you’ve seen this type of movie before, but rarely with this setting and with people from this part of the world.
All Is True fails to really justify itself: it’s a patchwork of ideas that never really coalesces confidently.
Female Human Animal is a unique experiment into pushing the boundaries of what is considered to be fact or fiction.
Fighting With My Family is a lovely little British gem and while it’s not perfect, Merchant shows admirable potential as a director.
Across her four uncompromising features, Scottish director Lynne Ramsay has unsparingly invited us to the darkest recesses of the human condition.
The Kid Who Would Be King is a surprisingly epic and spirited film, driven by an adventurous spirit and enough clever fun to keep things fresh during a sometimes long-winded ride.
I With awards season in full swing, I had the opportunity to watch five live-action short films…