He seemingly lets the camera into almost every nook and cranny, so that a picture emerges of not only him but the media goldfish bowl people like him inhabit.

~ Amber Wilkinson -

He seemingly lets the camera into almost every nook and cranny, so that a picture emerges of not only him but the media goldfish bowl people like him inhabit.

~ Amber Wilkinson -

The sleeping and waking worlds begin to tumble together, with cinematographer Kit Fraser using his camera to add to the unsettling atmosphere, spinning the image at key moments or rocking it to ratchet tension.

~ Amber Wilkinson -

The sleeping and waking worlds begin to tumble together, with cinematographer Kit Fraser using his camera to add to the unsettling atmosphere, spinning the image at key moments or rocking it to ratchet tension.

~ Amber Wilkinson -

Mascaro is completely in control of his material.

~ Amber Wilkinson -

Mascaro is completely in control of his material.

~ Amber Wilkinson -

It is when Neither Heaven Nor Earth ventures into the unexplainable that it brings us closest to the concrete battlefield.

~ Anne-Katrin Titze -

It is when Neither Heaven Nor Earth ventures into the unexplainable that it brings us closest to the concrete battlefield.

~ Anne-Katrin Titze -

Lost And Beautiful is filmed on expired 16mm film stock, in keeping with its themes, and the result is a delicate, watery palette which gives it a unique beauty.

~ Jennie Kermode -

Lost And Beautiful is filmed on expired 16mm film stock, in keeping with its themes, and the result is a delicate, watery palette which gives it a unique beauty.

~ Jennie Kermode -

Like a Brazilian Angela Carter, writer/director Anita Rocha da Silveira tells the story of a young woman emerging from a sheltered suburban world to walk a dark path, discovering the wild creature inside herself.

~ Jennie Kermode -

Like a Brazilian Angela Carter, writer/director Anita Rocha da Silveira tells the story of a young woman emerging from a sheltered suburban world to walk a dark path, discovering the wild creature inside herself.

~ Jennie Kermode -

A breathtaking piece of work.

~ Jennie Kermode -

A breathtaking piece of work.

~ Jennie Kermode -

Quiet and unassuming yet making some devastating points, Hamaguchi's film is shot with deceptive simplicity.

~ Jennie Kermode -

Quiet and unassuming yet making some devastating points, Hamaguchi's film is shot with deceptive simplicity.

~ Jennie Kermode -

The physicality and fluidity of adolesence are brought to the fore by Anna Rose Holmer in her tightly directed debut feature that avoids the bear traps of American coming-of-age cliche to offer a classy, thoughtful character study.

~ Amber Wilkinson -

The physicality and fluidity of adolesence are brought to the fore by Anna Rose Holmer in her tightly directed debut feature that avoids the bear traps of American coming-of-age cliche to offer a classy, thoughtful character study.

~ Amber Wilkinson -

This is a film of two halves, the first - and best - has the cold creeping dread of icy sea water slowly soaking into your swimming costume.

~ Amber Wilkinson -

This is a film of two halves, the first - and best - has the cold creeping dread of icy sea water slowly soaking into your swimming costume.

~ Amber Wilkinson -

The people encountered while working as a cinematographer for different documentarians, shooting all over the globe, are woven into a fascinating, irregular net of meaning.

~ Anne-Katrin Titze -

The people encountered while working as a cinematographer for different documentarians, shooting all over the globe, are woven into a fascinating, irregular net of meaning.

~ Anne-Katrin Titze -

The art of Behemoth lies in the way it winds the viewer up in its quintessential narrative.

~ Jane Fae -

The art of Behemoth lies in the way it winds the viewer up in its quintessential narrative.

~ Jane Fae -

It's light tone and sprightly 80-minute length belie the depth of Veiroj's film, which is almost bursting at the seams with ideas about self-definition.

~ Amber Wilkinson -

It's light tone and sprightly 80-minute length belie the depth of Veiroj's film, which is almost bursting at the seams with ideas about self-definition.

~ Amber Wilkinson -

The film, directed by feature debutant Shaun Dozier, retains the density of dialogue you might expect from a stage play but, by leaning into the theatrical nature of the proceedings, Dozier is in some ways able to make this into a virtue.

~ Amber Wilkinson -

A very effective piece of low budget storytelling.

~ Jennie Kermode -

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

~ Jennie Kermode -

Manizha Bakhtari may not be a household name but after watching Natalie Halla’s documentary you’re likely to think she ought to be.

~ Amber Wilkinson -

Sung’s own camera plays tricks, placing objects too close in the foreground so that parts of an image are out of focus, like an incomplete memory.

~ Jennie Kermode -

The concept, narrative, dialogue, cinematography and action sequences are elements of Scanners that can't be faulted.

~ Donald Munro -

The film hangs on Pemberton’s performance, and he imbues Doug with a sweetness that makes us feel for him despite his deeply misguided actions.

~ Jennie Kermode -

The screenplay written by the filmmaker and Andrea Piva is a proper masterwork, from the basic plotting to the intelligent, insightful dialogue.

~ Marko Stojiljkovic -

From the start, there is something different about this film.

~ Jennie Kermode -

Despite the anger at the unfairness of what has gone before, this is ultimately a warm-hearted, life-affirming film.

~ Jennie Kermode -

It is a ride, okay, and it is a bit nauseating and therefore not sterile.

~ Marko Stojiljkovic -

It’s also striking to think that when Leila is looking forward into the future, she is already, in some senses, looking at our recent past, which only reinforces the sense of the cyclical and ongoing nature of her themes.

~ Amber Wilkinson -

Thorne still comes across as being at the stage where many aspects of her work are experimental. She’s yet to settle into her style.

~ Jennie Kermode -

The characters work well...but there’s never quite enough energy to events.

~ Jennie Kermode -

Ahmed doesn’t need to include war footage for us to feel its weight and understand its shadow.

~ Amber Wilkinson -

The colour elements prove all the more striking when in contrast to black and white.

~ Amber Wilkinson -

The beautiful cinematography, the bluesy jazz score and the gentle pace of the film are beguiling, but Masciari makes sure that we don’t lose sight of the ridiculous.

~ Jennie Kermode -

Shot over 17 years, it mingles intimate personal moments with visceral concert footage, its musical sequences knitted together with some of the best editing you’re likely to see this year.

~ Jennie Kermode -

History comes alive in the voices of those who remember it.

~ Amber Wilkinson -

The choice of hand-drawn animation and its ability to demonstrate a magical realism allows the film to find the right distance from what is being depicted.

~ Richard Mowe -

Having set up all the elements of a thriller, the film proceeds to untangle them in a refreshingly different and mature way.

~ Jennie Kermode -

[Hart] doesn’t turn up the volume, but uses tone and repetition so effectively that the film becomes a microcosm of the real experience.

~ Jennie Kermode -

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 -