BFI LFF 2019: The King (2019)
★★★☆☆
The King by David Michôd takes a revisionist look at the history we know from Shakespeare, with a star performance by Timothée Chalamet as Henry V.
Austria
BFI LFF 2019: 8-13 October
★★★★☆
BFI LFF 2019: 8-13 October. The Whistlers, Deerskin, Algo-Rhythm and So Long, My Son.
STYX (2018)
★★★★☆
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3 Days in Quiberon (2018)
★★★★☆
3 Days in Quiberon by Emily Atef is a compelling slice of a few days in the life of actress Romy Schneider as she gives her last interview.
BFI LFF 2018 previews (3)
★★★★☆
Previews from the London Film Festival 10-21 October – Border, Assassination Nation, Papi Chulo, Lizzie, The Guilty and Joy.
Cannes Film Festival 2018: Day 2
★★★★☆
Cannes Film Festival 2018
Western (2017)
★★★★☆
The captivating German/Bulgarian culture clash in Valeska Grisebach’s Western could only happen in the EU and it’s subversive.
Happy End (2017)
★★★★☆
Michael Haneke’s Happy End deconstructs the internal dynamics of a wealthy bourgeois family living a life oblivious to the human beings around them, with chilling results.
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BFI LFF: Happy End (2017)
★★★★☆
Michael Haneke’s Happy End deconstructs a wealthy bourgeois family living a life oblivious to the human beings around them with chilling results.
Cannes review: Happy End (2017)
★★★★☆
Michael Haneke’s Happy End deconstructs a wealthy bourgeois family living a life oblivious to the human beings around them with chilling results.
Wild Mouse (2017)
★★★☆☆
A delicious comedy exposing the tit-for-tat that sees violence perpetuate, Josef Hader’s Wild Mouse is an uproarious plea for emotional honesty.
Festival Review: Kater (2016)
★★★★☆
Set in Austria’s musical circles, Klaus Händl’s sensuous and delicate Kater sees an idyll of gay love torn asunder by a moment of violence.
The Decent One / Der Anständige (2014)
★★★☆☆
Diagnosing the internal conflict of high-ranking Nazi and family man Heinrich Himmler, Vanessa Lapa’s The Decent One exposes the indecency of the “decent”.
Amour Fou (2014)
★★☆☆☆
A sober portrait of the woman accompanying Heinrich von Kleist into the hereafter, Jessica Hausner’s Amour Fou isn’t quite as mad as it should be.