Thom Carter
- Oct 27, 2019
The Painting in the Lobby [Mycle Scheuer, UK, 2018]
The great French critic André Bazin, commenting on the 1951 film Where No Vultures Fly [Henry Watt, UK], observed of one of its sequences, d
Sam Briggs
- Oct 27, 2019
The Turner Exhibit [Mathew Gregory Bainbridge, USA, 2019]
Any family can seem perfect from the outside, though, despite the illusion, this is very rarely the case. The Turner Exhibit explores inter-
Sam Briggs
- Oct 27, 2019
SHORT FOCUS 2019: Cry [Guy Wilson, UK, 2018]
Some really strong filmmaking nuances are exhibited midway through proceedings, when Andrew comes horrifyingly close to abducting another ma
Charlie Greep
- Oct 24, 2019
The Underground Empire [Manuel del Negro, Italy, 2019]
Thematically, The Underground Empire explores human progress and how humans and the natural world are both entwined with each other and yet
Thom Carter
- Oct 15, 2019
Screen Test: Part One [Emma Sywyj, UK, 2016]
In the enterprise of creating popular cinema a surfeit of filmed and written material is produced and discarded. One feels that the gleaning
Thom Carter
- Oct 15, 2019
Sure! A Myth of Three Creations [Pacco Fanti, Brazil, 2018]
A gnomic animation proceeds in which worm-like lifeforms interact with a higher entity. A piece of paper handed down from on high is passed
Thom Carter
- Oct 15, 2019
Chemicals, Like God [Matthew Roe & Kat Parker, USA, 2017]
In Chemicals, Like God, whatever ‘release’ is attained is coded with the displacement implied by the word. The biological imperative to sate
Charlie Greep
- Oct 2, 2019
The Wait of Stones [Dave Huber, USA, 2019]
The film is almost completely silence throughout the majority of its run time, with only the ambient sounds of nature such as babbling brook