BFI LFF: How to talk to girls at parties (2017)
★★★★☆
John Cameron Mitchell’s How To Talk To Girls At Parties is a weird mixture of punk and aliens in the British suburbs – and it works.
Cannes
BFI LFF: The Meyerowitz Stories (New and Selected) (2017)
★★★★☆
Noah Baumbach’s verbose comedy-drama The Meyerowitz Stories for Netflix is solid mainstream entertainment with a wry taste.
BFI LFF: Wonderstruck (2017)
★★★★☆
In Wonderstruck Todd Haynes opens a cabinet of cinematic wonders as two deaf children’s stories interlink 50 years apart in the magic of New York.
Wind River (2017)
★★★★☆
Taylor Sheridan’s heart is on his sleeve in his directorial debut in gripping, atmospheric Native American thriller Wind River.
Mimosas (2016)
★★★☆☆
Oliver Laxe’s second film Mimosas is an enigmatic, spiritual North African odyssey.
Slack Bay (2016)
★★★★☆
Divided into stalwarts of French cinema and non-professional actors, Bruno Dumont’s crime caper Slack Bay exposes the grotesque in everyone.
Cannes review: Before We Vanish (2017)
★★★★☆
Before We Vanish by Kiyoshi Kurosaw is a genre-bending Japanese bodysnatchers movie that provokes an alien apocalypse on Earth.
Cannes review: The Desert Bride (2017)
★★★★☆
The Desert Bride (La Novia del Desierto) is a charming Argentinian road move about a late-life blossoming.
Cannes review: Bright Sunshine In (2017)
★★★★☆
Juliette Binoche stars in a rom-com departure for Claire Denis in Bright Sunshine In (Un Beau Soleil Interior).
Cannes review: A Man of Integrity (Lerd) (2017)
★★★★☆
Mohammad Rasoulof laments institutional corruption in Iranian society in A Man of Integrity (Lerd).
Clash (2016)
★★★☆☆
In Clash director Mohamed Diab creates an intensely moving microcosm of Egyptian society in the confined space of a police van as riots erupt outside.
The Handmaiden (2016)
★★★★☆
A sumptuous new adaptation of Sarah Waters’ Fingersmith, Park Chan-wook’s The Handmaiden is a dazzling tale of duplicity and deception.
Neruda (2016)
★★★★☆
Personal Shopper (2016)
★★★★☆
A charismatic, nuanced turn by Kristen Stewart holds together an improbable yet strangely compelling mixture of fashion and supernatural horror in Oliver Assayas’s Personal Shopper.