Viktor Kossakovsky’s immersive, symphonic documentary captures terrifying visions of the climate crisis as the world’s ice goes into meltdown, writes Ben Nicholson.
Ulaa Salim’s political drama is handsome, sleek and beautifully acted, but the emotions it evokes are blunt, and its analysis is simplistic when it could be nuanced, writes Hannah McGill.
Catherine Grant’s presentation of a programme of ‘short films on film’ on the big screen gave a format more usually seen online a new, revelatory dimension, writes Tara Judah.
Whether as signifiers of maternal care or tools of male violence, umbrellas in films are far more than just a shield against the elements, writes Hannah McGill.
When should a documentary filmmaker be visible in their film, and when should they stand back from their subject matter? The best films at Amsterdam’s nonfiction festival found different answers to that question, writes Simran Hans.
Susan Sarandon stars as a dying woman who gathers her family for one last weekend in Roger Michell’s prettified remake of Bille August’s Silent Heart, writes Tom Charity.
Lesley Manville and Liam Neeson downplay their star charisma but bring much subtlety to bear on this Belfast-set tale of a couple facing a cancer diagnosis, writes Pamela Hutchinson.
Director-star Norton transfers Jonathan Lethem’s pulp noir and its Tourette’s-afflicted detective to a 1950s New York in which bigotry and injustice are rising in plain sight, writes Nikki Baughan.
Jacques Demy’s ineffable coastal-town musical mixes sweetness and sting, dreams and life, pink and brick red, as our reviewer wrote in the 1964 Monthly Film Bulletin.