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Pedro Almodóvar’s jury divided its prizes across a generally deserving spread of films from the likes of Lynne Ramsay, Sofia Coppola and Robin Campillo – as well as giving top honours to Sweden’s rising talent Östlund. It would be churlish to carp, says Nick James.
Sunday 28 May 2017
Nick James on the hits and misses of the Competition so far, including Michael Haneke’s Happy End, Valeska Grisebach’s Western and Andrey Zvyagintsev’s Loveless.
Tuesday 23 May 2017
From the Magazine
The latest nonfiction movie forays showcased in the ICA’s second Frames of Representation festival explore modern regimes of labour, physical discipline and social control, says Ben Nicholson.
Thursday 27 April 2017
From a canal-focused Gongoozling Day to celebrations of film naturalists Jean Painlevé and F. Percy Smith, the 11th Flatpack Film Festival transported audiences on a series of hypnotic encounters with nature and the aquatic, reports Thirza Wakefield.
Wednesday 26 April 2017
Whether flying to the stars or simply getting out of your skull, this year’s festival offers several opportunities for a virtual getaway, writes Anton Bitel.
Thursday 20 April 2017
A retrospective of 21st-century Chilean film at the Seminci Film Festival in Spain revealed how the national cinema has flourished and diversified in the post-Pinochet era. If only these exciting films could be seen in the rest of the world, says Mar Diestro-Dópido.
Thursday 6 April 2017
Alex Davidson, Sophie Mayer and Ben Walters discuss the best of the year’s London LGBT film fiesta – from the half-century commemoration of the Sexual Offences Act to The Untamed’s alien sex octopus.
Alex Davidson, Sophie Mayer, Ben Walters
Friday 31 March 2017
The dominance of view-on-demand services’ patronage seems to be a concern as much as an opportunity at Texas’s South by Southwest Film Festival, reports Nick Roddick. Still, two standout first features – Tragedy Girls and Hot Summer Nights – excellently break the mould.
Thursday 30 March 2017
Missouri’s eclectic True/False Film Festival made its name levelling the differences between documentary and fiction, mainstream movies and the cinematic margins. Might it show us the way to break down the divisions amongst audiences too, asks Charlie Lyne?
Thursday 23 March 2017
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