Slaboshpytskiy goes to show, first through Anna and then the actions of Sergey that some transactions can hold a lot more - and worse - than we have bargained for.

~ Amber Wilkinson -

Slaboshpytskiy goes to show, first through Anna and then the actions of Sergey that some transactions can hold a lot more - and worse - than we have bargained for.

~ Amber Wilkinson -

This is a well structured and affecting piece of film-making.

~ Andrew Robertson -

This is a well structured and affecting piece of film-making.

~ Andrew Robertson -

Riley really does listen to Marlon and, by extension, encourages us to.

~ Amber Wilkinson -

Riley really does listen to Marlon and, by extension, encourages us to.

~ Amber Wilkinson -

The characters feel shallow in comparison to the impressive action sequences.

~ Amber Wilkinson -

The characters feel shallow in comparison to the impressive action sequences.

~ Amber Wilkinson -

Severin Fiala and Veronika Franz’s film is one entirely about small details.

~ Luke Shaw -

Severin Fiala and Veronika Franz’s film is one entirely about small details.

~ Luke Shaw -

Seizes the attention from the brutal opening – and refuses to let go for an instant.

~ Richard Mowe -

Seizes the attention from the brutal opening – and refuses to let go for an instant.

~ Richard Mowe -

It is by turns sad and disturbing - with occasional bouts of highly dubious dark humour.

~ Richard Mowe -

It is by turns sad and disturbing - with occasional bouts of highly dubious dark humour.

~ Richard Mowe -

Centering on a beautifully observed performance by co-director Verónica Llinás, this is a film that treats its outsider heroine with dignity and reminds the viewer what it really takes to survive in this way.

~ Jennie Kermode -

Centering on a beautifully observed performance by co-director Verónica Llinás, this is a film that treats its outsider heroine with dignity and reminds the viewer what it really takes to survive in this way.

~ Jennie Kermode -

Sense of memory, sense of history, sense of time, envelop us like a high altitude fog.

~ Anne-Katrin Titze -

Sense of memory, sense of history, sense of time, envelop us like a high altitude fog.

~ Anne-Katrin Titze -

Poekel keeps things natural, letting Noel's sadness slowly permeate the atmosphere along with the scent of pine needles rather than ringing it out at high volume.

~ Amber Wilkinson -

Poekel keeps things natural, letting Noel's sadness slowly permeate the atmosphere along with the scent of pine needles rather than ringing it out at high volume.

~ Amber Wilkinson -

The pace of the action helps Handal to pack a lot in and his framing is inventive.

~ Amber Wilkinson -

A Teacher is not the most finely crafted film, but it is a cri de cœur.

~ Jennie Kermode -

The filmmaker and her crew deserve a lot of credit for even managing to capture this lifestyle – not to mention following it for five years.

~ Amber Wilkinson -

Breslin, as so often, is the standout.

~ Jennie Kermode -

The observational approach works against the director, slowing down proceedings and making it hard to see the wood for the trees

~ Amber Wilkinson -

Lotus may love pretty things, but he doesn’t hold back on the gore.

~ Jennie Kermode -

With so much going on the only shame is that at this length the pirouettes in various directions are so brief, giving us a taste for ideas that are begging to be dug into further.

~ Amber Wilkinson -

While the film is generally a delight, the increasingly surreal third act can be hard to track.

~ Antoni Konieczny -

A patient, affecting study of human connection in unusual circumstances

~ Antoni Konieczny -

The irreverent score, the gothic art direction, and Mario Tosi’s kaleidoscopic, slithering cinematography coalesce into something mesmeric.

~ Antoni Konieczny -

Like its subject, the film is a fusion of styles.

~ Jennie Kermode -

Fiennes is lean in look and in performance, bringing an intensity that proves compelling.

~ Amber Wilkinson -

An overflowing life is presented to us through archival interviews and film clips, and most revealingly through on-camera insights from O’Brien herself.

~ Anne-Katrin Titze -

The anxious impact of the airport is also brought home to us by the crowded nature of the animation, its expressionist rendering emphasising the strangeness of this environment.

~ Amber Wilkinson -

For better or worse, Antonioni’s got his master stylist hat on here, even if it sometimes obscures his vision.

~ Antoni Konieczny -

Feels like a bite-sized companion piece to The Invasion

~ Amber Wilkinson -

There’s a good deal of depth and nuance to these relationships as Blichfeldt uses them to illustrate how a society which makes women dependent on men magnifies ever petty disagreement and sets them at odds with one another.

~ Jennie Kermode -

The cinematography is deliberately downbeat. The narrative meanders as its hero does.

~ Jennie Kermode -

Anno, while acknowledging the history through the use of archive and via her interviewees, firmly accentuates the positives and the strides that have been made.

~ Amber Wilkinson -

There’s no room here for the simple morality of the average horror film.

~ Jennie Kermode -

Pure joy from start to finish.

~ Anton Bitel -

Fiennes is lean in look and in performance, bringing an intensity that proves compelling.

~ Amber Wilkinson -

Coogan is well cast in this tricky role, moving easily from humour to heartbreak..

~ Jennie Kermode -

I Am Love is social melodrama in the best traditions of Italian cinema.

~ Chris -

Anime at its very finest - lightning paced, visually stunning, feverishly creative and overrun by a logic all its own.

~ Anton Bitel -

The action is pacy but that doesn’t mean Courvoisier skims the surface.

~ Amber Wilkinson -

An overflowing life is presented to us through archival interviews and film clips, and most revealingly through on-camera insights from O’Brien herself.

~ Anne-Katrin Titze -