Geoff Andrew
All articles by Geoff Andrew
Where to begin
Where to begin with Víctor Erice
With the upcoming release of his first movie in 30 years, we get you up to speed with one of the greatest living filmmakers: Spanish master of time and light Víctor Erice.
By Geoff Andrew
Where to begin with Víctor Erice
Obituaries
Otar Iosseliani obituary: Georgian director of inimitable, idiosyncratic fables
By Geoff Andrew
Where to begin
Where to begin with the Dardenne brothers
By Geoff Andrew
Features
The sprawling brilliance of Robert Altman’s Nashville
By Geoff Andrew
Features
What to watch at LFF: Never Gonna Snow Again, Malgorzata Szumowska’s enigmatic social satire
By Geoff Andrew
Lists
Forgotten treasures of the multiplex
By Ryan Gilbey, Nick James and others
Reviews
The Wild Pear Tree first look: Nuri Bilge Ceylan contemplates a restive rural homecoming
By Geoff Andrew
Polls
The best film books, by 51 critics
By Geoff Andrew, Michael Atkinson and others
Reviews
Ghost Town Anthology review: Denis Côté explores a community haunted by grief
By Geoff Andrew
Reviews
Piranhas first look: tracing the rise of a Napolitan criminal whippersnapper
By Geoff Andrew
Features
Cannes film festival 2019: the prize-winners
By Geoff Andrew
News
What should have won the 2019 Cannes Palme d’Or?
By Isabel Stevens, Nick James and others
Reviews
The Invisible Life of Eurídice Gusmao first look: the odyssey of a fractured family from Brazil
By Geoff Andrew
Reviews
Sorry We Missed You first look: Ken Loach delivers a stirring drama on the gig economy
By Geoff Andrew
Reviews
Little Joe first look: a heady lab-of-horrors mystery
By Geoff Andrew
Features
Panning for gold: Cannes 2019 Palme d’Or contenders
By Geoff Andrew
Features
Holiday blues and the improvised magic of The Green Ray
By Geoff Andrew
Features
Politics wins prizes: how big themes prevailed in the 2019 Berlin competition
By Geoff Andrew
Reviews
Berlinale first look: God Exists, Her Name Is Petrunya is a vivid feminist satire
By Geoff Andrew
Features
Who’s who in competition at the Berlin Film Festival 2019
By Geoff Andrew
Reviews
Happy as Lazzaro first look: Alice Rohrwacher practises magic neorealism
By Geoff Andrew