PHYLLIS AKALIN reports on UCL’s LGBT+ Network’s Stonewall Screenings, exploring what the selected films can teach us about intersectionality and their relevance to the BLM..
ALICE DEVOY reviews Oliver Hermanus’s film set on the frontiers of South African Apartheid. ‘You aren’t people any more. You are scabs: flaky, yellow, pus-filled..
FARIDA EL KAFRAWY reviews Philippa Ndisi-Herrmann’s 2018 documentary, New Moon, chronicling her conversion to Islam. What begins as an audiovisual journey, charting the changing landscape and cultural..
ANNABELLE BRAND explores Robert Eggers’ maritime horror, The Lighthouse, through an examination of the texts which influenced it. ‘A thousand thousand slimy things lived on—and so did..
JAGO LYNCH reviews Russian filmmaker’s latest documentary, Aquarela, screened at the Bertha Dochouse and featuring a Q&A with producer Aimara Reques. Aquarela is a film of..
TOMI HAFFETY reviews Rian Johnson’s latest release Knives Out. Knives Out is a refreshing, modern and utterly witty whodunnit which reclaims the tired genre and gives..
JARVIS CARR reviews Ben Berman’s debut feature, The Amazing Johnathan Documentary. As its title states, the focus of Ben Berman’s documentary began as ‘The Amazing Johnathan’,..
PHYLLIS AKALIN reviews Xavier Dolan’s eighth feature film, Matthias et Maxime. Xavier Dolan’s eighth film readopts many of the themes highlighted in his former works (Mommy, 2014,..
JARVIS CARR reviews Hogir Hirori and Shinwar Kamal’s wartime documentary, The Deminer. There is no music to accompany Colonel Fakhir in the introductory scene of The..
JONNY HARVEY reviews Carlos Sorín’s 2004 comedy, Bombón: El Perro, shown as part of The Cinema Museum’s Argentinian Film Season. Bombón: El Perro is a minimalist offering..
LYDIA DE MATOS reviews Olivier Assayas’s latest film Non-Fiction. Concerned primarily with questions of the transition of media into the digital age, Non-Fiction (2019) is a..
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