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  • Michael Inside

    Michael Inside

    ★★★★

    Fantastically directed with a command of visual language all-too rarely seen in the kind of Irish films that get wide release; Berry and his cinematographer Tom Comerford frame their characters among the casually containing infrastructure that hems them in every bit as tightly as the genre plot points this prison drama so smartly plays around with. In Flynn, Berry's found a leading man you could stare at for hours, in one light the like of a child, in another his…

  • Entr'acte

    Entr'acte

    ★★★★½

    Astonishing interrogation of form has Clair striving to see the cinema for all its nascent potential in a quintessential modernist masterpiece that's still staggering in its invention, its wit, and its wild sense of ecstatic abandon. It's cinema as spatiotemporal circus, slapstick séance, infinity of playful possibilities. Not many have exploited them quite so well in the subsequent century.

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  • Werckmeister Harmonies

    Werckmeister Harmonies

    ★★★★★

    Why do I hold Werckmeister Harmonies aloft as the greatest film I have ever seen? A huge part of it, admittedly, and the thing that makes me think it will remain my favourite film to the day I die, is its profound personal relevance. I first saw the film about 5 years ago now, at a time when my interest in cinema was in the very very earliest stages of blossoming. It blew me away. Takes that long, images that…

  • Enter the Void

    Enter the Void

    ★★★★½

    Certain films you love because they touch you personally. Others you love because they tell a story so gripping you feel part of it yourself. Some you love for their part in shaping you as a cinephile, even as a person. Then there are the handful of films you love simply because you must love: because they represent so bold an authorial vision, so striking a view of the world, so wholly unique a perspective on life through cinema, that…