Jeffrey Krolick's documentary is minimally intrusive and proceeds at a gentle pace, letting Condos unfold his tale.

~ Jennie Kermode -

You can’t failed to be moved by the plight of the child as he picks his way over a mountain of rubbish, and yet the voice-over poem keeps you at arm’s length.

~ Amber Wilkinson -

A thoughtful film which packs a lot of ideas into a tight space, I Say Dust speaks well to the talents of those involved.

~ Jennie Kermode -

This intense Polish short doesn't pull off quite as many original twists as it thinks it does, but a strong central performance and a brittle authenticity render it comfortably above average for this sort of fare.

~ Jennie Kermode -

One might call it a car crash of a film but whiplash would be preferable to viewing it.

~ Jennie Kermode -

A confident and assured portrayal of a distinct lack of confidence and assurance.

~ Andrew Robertson -

Bedsit sleaze stalks the skeletal script.

~ Angus Wolfe Murray -

Hertzfeldt is inordinately talented. This is a beautiful film.

~ Andrew Robertson -

If there's a message to be had it's that outwardly respectable men can be violent tossers, but that's hardly a revelation.

~ Martin Gray -

It’s getting dark and his torch is on the blink.

~ Angus Wolfe Murray -

A technically accomplished portrait of aging and an individual.

~ Andrew Robertson -

What shines through most about Goodall’s documentary is her care and attention to balance and detail.

~ Amber Wilkinson -

From a gentle start In The Meadow gets very dark, very quickly.

~ Andrew Robertson -

Quietly affecting.

~ Rebecca Naughten -

I'm clearly getting far too old for this.

~ Amber Wilkinson -

This short lasts only eight minutes, so why does it take so long?

~ Amber Wilkinson -

The film elicits a visceral sense of the roots of rumba.

~ Chris -

A solid set of programming featuring a couple of gems.

~ Amber Wilkinson -

Sadly, directors Andrew Begg and Mark Williams have missed the opportunity to gently probe the peculiarity of this specialist subject and investigate the darker recesses of anal retention.

~ Angus Wolfe Murray -

Looks for insight where there clearly isn’t any to be found.

~ Tony Sullivan -

This is a tiny film at just two minutes in length, but it's a lot of fun.

~ Andrew Robertson -

Wolf may have bared his soul but the world he inhabits remains frustratingly shrouded.

~ Amber Wilkinson -

Maki's distinctive voice comes through clearly.

~ Jennie Kermode -

There are a couple of good gags here but it's a bit of a one-note piece.

~ Amber Wilkinson -

Strikingly presented.

~ Andrew Robertson -

A clear-sighted, realistic look at a phenomenon long swathed in myth.

~ Jennie Kermode -

The risk for a film that focuses on film is that it'll reference something that does what it's trying to do better.

~ Andrew Robertson -

It's clear Cambrinus has a lot of potential.

~ Amber Wilkinson -

The experience is a reminder of the comparative naivety of audiences past and the way that cinema has been forced to keep evolving in order to keep viewers on their toes.

~ Jennie Kermode -

The frankness of these stories means that many viewers will find something they can relate to.

~ Jennie Kermode -

There is a willful experimentalism at the core of the film, an invitation to look and look again until the familiar becomes strange, until one notices something different.

~ Jennie Kermode -

A jealous castle in time, falsity piled upon artifice, circular and fleeting.

~ Andrew Robertson -

Breathing life and spirit into the undead.

~ Amber Wilkinson -

At under six minutes Kartal's piece can only gloss over what amount to highlights.

~ Andrew Robertson -

Wakivuamina skillfully strips out emotion from her performance whilst Hagen lets us see the depth of Noé’s pain, the extent of her need.

~ Jennie Kermode -

Lysetskyi’s approach is direct yet also artistic.

~ Amber Wilkinson -

It’s the specificity of these vignettes which gives the film its intensity, as much as the shadow hanging over the search.

~ Jennie Kermode -

Koeyers lets ideas flow over one another, like raindrops joining each other as they roll down glass.

~ Amber Wilkinson -

An emotionally intelligent film that captures the contours of a life transplanted.

~ Amber Wilkinson -

What really makes this film appealing...is the way in which Liang weaves together the personal and the political.

~ Jennie Kermode -

Snowball adds movement and colour to her film with kaleidoscopic animation, and makes good use of framing to ensure we really look at Reza directly and consider his life.

~ Amber Wilkinson -

It is not just in vision that there is quality.

~ Andrew Robertson -

A mixed methods approach using mostly hand drawn animation with traditional Persian motifs keeps the focus on the narrative, and visual layering reflects the layers in the story.

~ Jennie Kermode -

A stunning film.

~ Andrew Robertson -

As the story progresses it becomes increasingly absurd, but it's all well evidenced.

~ Jennie Kermode -

A masterpiece of cinematic efficiency.

~ Jennie Kermode -

Like a loving home video.

~ Chris -

The recursively unreal spaces are an environment produced by external constraints.

~ Andrew Robertson -

A clever and interesting fusion of sound and image.

~ Adam Micklethwaite -

There is a beauty to it, a sort of quasi-legendary feel, a tickling, yawning surrealism.

~ Andrew Robertson -

In the span of 30 minutes, René-Lortie shows us Marc’s intelligence, his creativity, his passion – shows us how much he has to contribute to the world.

~ Jennie Kermode -

Elsalihie is good in the central role, conveying not just terror but the sense of despair that comes from knowing there's nowhere to run.

~ Jennie Kermode -

. Tarabura matches Krysia's energy step for step, with an unexpected lengthy twirl on a kids' roundabout shoved by Majka pushing the film into its more kinetic second half as Patrik Kin's cinematography propels us along with it.

~ Amber Wilkinson -

Doesn't quite pull it off.

~ Trinity -

As a historic artefact of past creativity it stands up well.

~ Andrew Robertson -

At once poignant, disturbing and at times, hilarious.

~ Steve Harwood -

An evocative, atmospheric film which packs a lot into its short runtime.

~ Jennie Kermode -

There's a whole set of semiotics, tracksuits and jackets, Berghaus and Buckfast.

~ Andrew Robertson -

As a feat it's impressive and as a film it's entertaining.

~ Andrew Robertson -

I’m Not A Robot displays sharp comic timing and is highly effective in balancing the horror and the humour inherent in Lara’s situation.

~ Jennie Kermode -

Though he has a number of credits to his name, Nicholas Winter struggles with basic framing, resulting in a film full of unintentional visual distractions.

~ Jennie Kermode -

Pajek's animation is striking, pencilled lines and negative spaces creating something distinctive and delightful.

~ Andrew Robertson -

This is a strong film, an indicator of the talent of both writer and director.

~ Andrew Robertson -

There's something interesting here, but it's an arch construct without foundation.

~ Andrew Robertson -

There's a nice idea here and it's sustained well.

~ Jennie Kermode -

An act of scholarship, contrast.

~ Andrew Robertson -

Gjesing is exceptional.

~ Jennie Kermode -

Hand drawn using just four colours of ink, the film’s simple lines convey a great deal of movement and expression.

~ Jennie Kermode -

The restrained approach taken to the bullying serves as a reminder that for lonely children laughter can hurt as much as a beating.

~ Jennie Kermode -

This is a touching little film.

~ 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 -