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  • Loveling


    Growing up is the long and upsetting process of abandoning your parents. This abandonment comes in at least two guises: the change of your personality as you become an adult; or the more literal version, whereby you leave home for an opportunity away from the family. It’s this second scenario (with hints of the first) that occupies the interest of Loveling, a stirring, heartfelt drama from director Gustavo Pizzi.

    Full EIFF 2018 review here.

  • Cold War

    Cold War

    "Cold War," Paweł Pawlikowski’s new film, begins in 1949: Wiktor (Tomasz Kot), a musician and composer, and producer Irena (Agata Kulesza) search through the Polish countryside for the sound of authentic folk music, in order to form a troupe. One of those who auditions is Zula (Joanna Kulig), a young woman who, gossip suggests, is not who she maintains to be...

    I was enraptured by Pawlikowski's *gorgeous* new picture; full review here:

Popular reviews

  • You Were Never Really Here

    You Were Never Really Here

    The film I was most eagerly awaiting of this year so far. Amazing: it's a thunderstorm of brilliance.

    The noise of this film is astonishing. It pressed home the idea of Phoenix's Joe being out at sea ALL OF THE TIME; there is no respite for his psyche, the associations are incessant and they are brutal. Greenwood's score is an audible assault on the sense, and the sound design is a calibrated delirium.

    And while it's a painful experience, largely…

  • The Square

    The Square

    "The Square" is loathsome, reactionary nonsense.

    There is no short supply of satire surrounding the contemporary art world, so a new work that centres on this really has to be funny, really has to have something to say. What does Östlund settle for? This: the obscurity of contemporary art is not warranted by its vague subject-matter, and is packaged with a surfeit of vague corporate-speak, delivered to you by shallow and pretentious hacks. Wow! I've never heard that before! It's…