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..
THOMAS NGUYEN revisits François Ozon’s 2005 film Time to Leave. At the height of his career as a fashion photographer in Paris, thirty-year-old Romain (Melvil Poupaud) is..
SHANTI GIOVANNETTI-SINGH reviews Quentin Tarantino’s ninth film, Once Upon a Time… in Hollywood. Lemon Cadillacs, wild-west stars and hippy cults replace pumpkin carriages, princesses and evil..
BRUNO REYNELL reviews Ari Aster’s genre-defying Midsommar. Were it not for its overt title, the gloomy snow-filled landscapes that open Midsommar might tempt us into thinking..
PHYLLIS AKALIN reviews Beautiful Boy, Felix Van Groeningen’s testament to the Sheff’s family story. Based on the life stories of Nic Sheff (Timothée Chalamet) and..
HEATHER DEMPSEY delves into the cult of ‘bad films’ through the example of Tommy Wiseau’s famously mediocre take on the love-triangle. ‘Right, I’m just going..
