In this small and human drama there are the shadows of the idealism and tyranny of the assembly-line.

~ Andrew Robertson -

Shakespeare said brevity is the soul of wit and in the case of Humans! he'd be spot on.

~ Amber Wilkinson -

A number of nice touches.

~ Andrew Robertson -

Strong performances throughout.

~ Andrew Robertson -

The film has a wistfulness, which draws you in.

~ Amber Wilkinson -

Shows it as it is.

~ Angus Wolfe Murray -

Its realism isn't textural or technical, but emotional.

~ Andrew Robertson -

Charming, cleverly lit and a fine example of claymation with fishy bits.

~ Angus Wolfe Murray -

The film is one of the first examples of vox populi and the presentation of ordinary people talking directly to the camera was innovative for the era.

~ Rebecca Naughten -

Household Gods is unsettling. It attempts further tricks to that end... New walls are created

~ Andrew Robertson -

Fulton's performance perfectly reflects the psychological uncertainty of a mind in free fall and Hynd's use of the camera is inspired.

~ Angus Wolfe Murray -

A delight from beginning to end.

~ Sarah Artt -

The film contains some beautiful photography, and its subjects are presented with dignity and humour. It is a pity that it soon becomes rambling.

~ Val Kermode -

Argues that what is needed is not a change in the law but a change in the way of thinking.

~ Val Kermode -

Seems to convert someone else's memories to someone else's acid flashbacks.

~ Scott Macdonald -

The mixture of elements is at times startling.

~ Andrew Robertson -

A whimsical tale that will continue to charm younger viewers today.

~ Jennie Kermode -

The direction shows flair, picking out striking visual lines and depth in the most ordinary of locations, all awash with over-saturated video colours.

~ Paul Griffiths -

Increasingly unsettling, darkly comic.

~ Amber Wilkinson -

All the more painful for its plainness, Dora's account carries additional weight because of all the other people whose stories it tells, the centuries of disbelief it attests to.

~ Jennie Kermode -

Small children reciting old rhymes is surely one of the oldest tricks in the book for generating atmosphere but Ataka51 employ it with the smoothness of a tried and tested magician.

~ Amber Wilkinson -

This film delivers real thrills and real scares.

~ Jennie Kermode -

Filippone and Meltzer find power in silence, content to watch and keeping themselves out of the frame, so that the emotions of those they capture can be fully channelled through the lens.

~ Amber Wilkinson -

Skye Fitzgerald's Oscar-nominated short represents real personal courage, and illustrates the courage of those who have nowhere else to go but are willing to look their situation full in the face every day.

~ Jennie Kermode -

Exquisitely photographed.

~ James Gracey -

When Almodóvar has the protagonist talk about kitchen knives and their temptation, all I could think of was the brand of knife he might choose to showcase.

~ Anne-Katrin Titze -

While Louis-Seize’s treatment of the night is atmospheric, the emphasis here is firmly on comedy rather on gore.

~ Amber Wilkinson -

Ortega uses the power of suggestion to stoke the mood - the whispers of prayer, a sudden wind blowing up where it shouldn't, an unexpected voice at the end of the line.

~ Amber Wilkinson -

Three minutes go by and there isn't a bad camera angle, or a character defect.

~ Angus Wolfe Murray -

Though this film stands up well on its own and is delightfully entertaining, it will be of particular interest to fans of the later feature.

~ Jennie Kermode -

Hot Winter is perhaps a cheese course - too rich and full as a digestif, not portion enough to satisfy.

~ Andrew Robertson -

Colours and style ooze from the screen.

~ Amber Wilkinson -

For all the subtlety in Alexander Stewart's script and the confidence of Henry Darke's direction it is Tyson and Dobson who make the film.

~ Andrew Robertson -

It’s the acting that carries it, and naturally Farahani, one of the finest talents of her generation, does not disappoint.

~ Jennie Kermode -

There’s a genuine unpredictability to Honey Bunch, both structurally and thematically.

~ Jennie Kermode -

This is an excellent film, rewarding audiences with a slowly crystallising sense of dread.

~ Andrew Robertson -

Jack Northover's minimal piano score and Max Bellamy's cinematography both well serve Gleeson's two roles as director and editor.

~ Andrew Robertson -

Maguire and co-writer/director Kyle Garrett Greenberg keep it simple and it’s more effective as a result.

~ Jennie Kermode -

The Hitchhiker uses elements of fantasy to force a confrontation with the greater strangeness of reality.

~ Jennie Kermode -

A comprehensive presentation of his work, showing the origins of several of the elements that he would go on to capitalise on in his later work

~ Amber Wilkinson -

The cultural interaction is by far the film's greatest asset.

~ Jennie Kermode -

Though it is constructed about a ruin this is an unburied treasure, not a folly.

~ Andrew Robertson -

The combination of Japp's patient approach and Desplat's emotionally intense performance is powerful.

~ Jennie Kermode -

A powerful and emotive meditation on the skill and art involved in skating.

~ James Gracey -

The energies - and frustrations - of a day at the beach are as vibrant as a flamingo lilo in this animated short.

~ Amber Wilkinson -

Its sure-footed direction, its invention and its heart are all infatuating.

~ Andrew Robertson -

Balancing its grim observations with sly humour, it very effectively captures the community dynamics in both the home and the workspace.

~ Jennie Kermode -

The visual storytelling leads us to places beyond the script, where warring feelings lie.

~ Amber Wilkinson -

The documentarians choose their shots wisely, with judicious drone footage bringing home the enormity of the issue.

~ Amber Wilkinson -

Intriguing and enjoyable.

~ Adam Micklethwaite -

Events, as they unfold, are both shocking and satisfying.

~ Andrew Robertson -

Everything works in this film.

~ Andrew Robertson -

Bunel's performance is big, emotional, and it makes complete sense that Adèle would be this way, yet in positioning it in contract to Kouka's quietness, director Paul Marques Duarte forces a change of perspective.

~ Jennie Kermode -

An exercise in the minimal.

~ Andrew Robertson -

It takes a lot to make this kind of document. The simplest line is often the hardest.

~ Andrew Robertson -

A thoughtful and contemplative film.

~ Amber Wilkinson -

Something truly delightful.

~ Andrew Robertson -

Efficient storytelling and a clear grasp of how children look at the world make this simple film a treat.

~ Jennie Kermode -

Though many aspects of the subject are grim, McMillion Sheldon balances this with beautiful framing.

~ Jennie Kermode -

A layered portrait of what's happening around a kid, oblivious, even endangered.

~ Andrew Robertson -

This is touching and excellently executed.

~ Andrew Robertson -

It is a sign of the strength of McNally's script that the film has attracted telly regulars Lysette Anthony and Sara Stewart to the roles of Kate and Vanessa.

~ Amber Wilkinson -

This is a beautifully composed work. Beautifully danced. Beautifully photographed.

~ Chris -

While the characters might amuse and irk, they certainly don’t touch us.

~ Paul Griffiths -

The mysteries are infinite.

~ Scott Macdonald -

The sound is enveloping, excellent, a submarine hunting for its missing guitar, a synthetic-aperture-radar love-song, ambience built steadily from Jurgen Gruber's audio samples.

~ Andrew Robertson -

A treat to watch.

~ Andrew Robertson -

This is a very stylish little animation

~ Amber Wilkinson -

A delightful ensemble piece depicting the funniest dinner party from hell since Bringing Up Baby.

~ Dylan Matthew -

In its own low-key, unassuming way, it's pretty powerful.

~ James Benefield -

Repeated viewings also reveal the beautiful circularity of the film that begins at more than one end.

~ Amber Wilkinson -

Pepi's attention to detail is superb and means that there are a lot of extra treats for those familiar with the genre.

~ Jennie Kermode -

An ingenious and spirited look at the popular phenomenon of beating up strangers and capturing the event in video form on mobile phones.

~ Jennie Kermode -

Quaint and amusing, but it wouldn’t make me buy the record.

~ Chris -

Director Timor Britva has done his best to tell this story with documentary impartiality, but the situation makes that almost impossible.

~ Andrew Robertson -

Beshir is happy to retain the mystery of how this relationship has come to pass in favour of immersing us in the here and now of it.

~ Amber Wilkinson -

There is an extant sense of mystery, perhaps trending to dread, but here it is not enough.

~ Andrew Robertson -

The delight of the drama stems from the well crafted characters, while its heft hinges on toxicity that may not be immediately obvious.

~ Amber Wilkinson -

A very effective piece of low budget storytelling.

~ Jennie Kermode -

An extraordinarily thorough film.

~ Jennie Kermode -

Writer/director Sandhya Suri - who has a documentary background - is keen to show that everyone plays their part in the prejudices and corruption of the legal system.

~ Amber Wilkinson -

Once again, Guiraudie proves himself the master of setting up a mystery by the means of perfect script economy that functions strictly on “need to know” basis.

~ Marko Stojiljkovic -

The director shows how it’s not just Julie’s tennis skills that have been groomed by the coach but large aspects of her life.

~ Amber Wilkinson -

Cat’s viewpoint predominates, and Zilbalodis has an acute understanding of how the world looks from its point of view, of what catches its attention and how its body follows instinctively.

~ Jennie Kermode -

It’s ironic that a film about a family who have built a perfect facsimile of a life for themselves should feel so overly constructed itself

~ Amber Wilkinson -

Lin and Sun studiously maintain the enigma around Shuo so that we are left guessing as to whether he’s just a disadvantaged teen trying to make his way in the world or a cuckoo in the nest.

~ Amber Wilkinson -