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Hannah McGill is a freelance writer and critic, and former artistic director of the Edinburgh International Film Festival.
She tweets @HannahJMcGill.
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Crip Camp review: irreverence and activism in the glow of summertime
The uplifting story of a radical summer camp for disabled teenagers that shaped several generations, by Hannah McGill.
Thursday, April 9, 2020
Reviews and recommendations
From the Magazine
Toni Morrison: The Pieces I Am review: a neat portrait of a fearless writer
Rich in anecdote and in its subject’s own charisma, Timothy Greenfield-Sanders’s documentary keeps to its own comfort zone, says Hannah McGill.
Monday, March 9, 2020
Incidental Characters review: trivial pursuits of self-involved people
This thin romcom rejects meaningful speeches in favour of throwaway comments, but fails to compensate for its lack of profundity with laughter or charm, wries Hannah McGill.
Wednesday, February 19, 2020
When Lambs Become Lions review: an intimate documentary about the ivory trade
Jon Kasbe’s ravishingly photographed and moving film follows a ranger and two poachers as they chase their prey in northern Kenya, writes Hannah McGill.
Thursday, February 13, 2020
Buck Henry obituary: Hollywood’s irreverent and observant raconteur
The witty screenwriter of several classic films including The Graduate and To Die For as well as an acclaimed character actor, he was Oscar-nominated as both a writer and director, recalls Hannah McGill.
Monday, January 20, 2020
Amanda review: a Parisian tale of life after terror
A young girl is raised by her uncle after losing her mother in Mikhaël Hers’s compassionate if slightly forced evocation of the stillness that follows a sudden catastrophe, writes Hannah McGill.
Thursday, January 2, 2020
Citizen K review: a fascinating portrait of a charismatic former oligarch
Alex Gibney takes an ambivalent stance on Putin opponent Mikhail Khodorkovsky in this densely packed, intelligent documentary study, says Hannah McGill.
Friday, December 13, 2019
Sons of Denmark review: a chilling vision of far-right radicalisation
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.
Wednesday, December 11, 2019
Object lesson: The umbrellas of cinema
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.
Tuesday, December 10, 2019
Shooting the Mafia review: Italy’s first female photojournalist looks back in anguish
Kim Longinotto weaves together the life story of a remarkable woman with an acute social portrait of Italy’s struggle with the Mafia, by Hannah McGill.
Friday, November 29, 2019
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