Festival Review: 24 Weeks (2016)
★★★☆☆
As a couple struggle to come to terms with their unborn baby’s condition, Anne Zohra Berrached’s 24 Weeks uncovers a grey world of female courage.
★★★
Festival Review: Inside The Chinese Closet (2015)
★★★☆☆
With fake marriage markets and illegal babies, Sophia Luvara’s intimate documentary Inside The Chinese Closet reveals gay men and women shouldering their parents’ burden.
Festival Review: Don’t Call Me Son (2016)
★★★☆☆
Depicting the impossible situation of teenagers reclaimed by birth parents, Anna Muylaert’s Don’t Call Me Son clothes her emotion in a plain black smock.
Festival Review: Saint Amour (2016)
★★★☆☆
Another French loser comedy about love, men, wine and heritage, Benoît Delépine and Gustave Kervern’s Saint Amour finds a gentle, fruity sparkle.
Festival Review: United States Of Love (2016)
★★★☆☆
A portrait of four pained women on the cusp of freedom, Tomasz Wasilewski’s United States Of Love takes its passion removed, rejected and unrequited.
Festival Review: Miles Ahead (2015)
★★★☆☆
Love and labour lost, Don Cheadle’s biopic Miles Ahead reveals the great jazz musician Miles Davis at his lowest ebb.
Festival Review: Zero Days (2016)
★★★☆☆
Exposing the secrecy around cyber-warfare and the US attack on Iran’s nuclear industry, Alex Gibney’s Zero Days pleads for a break in the silence.
Festival Review: Being 17 (2016)
★★★☆☆
Exploring themes of identity, masculinity and desire, André Techiné’s Being 17 is a delicate portrait of adolescent confusion and first love.
Festival Review: Yarden (2016)
★★★☆☆
Adapted from Kristian Lundberg’s autobiographical novel, Måns Månsson’s Yarden is a parable of entitlement that turns welcomingly political.
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.
A Bigger Splash (2015)
★★★☆☆
A sizzling relationship drama of lingering sensuality and unspoken tension, Luca Guadagnino’s A Bigger Splash fizzles beneath the weight of an incongruous plot.
Youth (2015)
★★★☆☆
A cornucopia of secrets, betrayal, friendship and regret, Paolo Sorrentino’s Youth is the old sod to The Great Beauty‘s bright young things.
Lost In Karastan (2015)
★★★☆☆
Set in a fictitious former Soviet-bloc republic, Ben Hopkins’ Lost in Karastan is a very British satire about a very British film director adrift in a totalitarian dictatorship
The Assassin (2015)
★★★☆☆
A quiet, elliptic take on 8th century China combining arthouse and wuxia, Hou Hsiao-Hsien’s The Assassin screams style and accomplishment.