In spite of what its title and country of origin might suggest, not a single spider appears in Birdeater (2023), the feature debut of Australian directing duo Jack Clark and Jim Weir; the webs of predatory entrapment that its characters become tangled in are of the metaphorical variety, constructed using […]
Drama
The Complex Forms (Slamdance Film Festival 2024)(Review)
Slamdance is a film festival positioned around micro budget productions, giving writers and directors an early step in their career – a step with considerable lineage given its on the doorstep of its third decade. That qualifier, micro-budget, gives a certain impression of what sort of narrative films the festival […]
Paris Memories (2022) Poignant Drama Undercut By Cluttered Screenplay (Review)
Small Slow But Steady (2023): A Tender Character Study of a Hearing-Impaired Female Boxer (Review)
The latest film from Japan’s Shô Miyake, director of 2018’s And Your Bird Can Sing and 2020’s Ju-On: Origins, is Small, Slow But Steady, released to cinemas and Curzon Home Cinema on 30th June. Miyake’s touching movie is a highly original boxing drama inspired by the autobiographical book Makenaide!, the […]
The Middle Man (2021) Offbeat Dark Comedy Contains Plenty of Darkness But Not Enough Comedy (Review)
Jane (2023) When Teen Drama morphs into Psychological Teen Horror (Review)
Teenage suicide and cyber-bullying. Handle these tough subjects in a way that is crass or exploitative, and your film will leave a bad taste in the mouth. Handle it with delicacy and nuance and you might produce something impressive. Sabrina Jaglom’s Jane falls into the latter category, approaching these topics […]
You Resemble Me (2021): the real person behind the fake news (Review)
Nanny (2022) Bold Debut Subverts Stereotypical Supernatural Expectations (Review)
In Nikatyu Jusu’s debut feature Nanny, motherhood, race, class and West African folklore are explored wrapped up in a fiercely smart and subtly supernatural package, that manages to subvert stereotypical expectations. Anna Diop plays Aisha, a woman who has come to the United States from Senegal, in the hopes of […]
Frightfest 2022: Incredible but true (Festival Review)
Quentin Dupieux is a fascinating multihyphenate. For my generation, he emerged with the puppet Flat Eric and his dance single, flat beat. Since then, he emerged as a filmmaker and his first notable cut-through came in 2010’s Rubber A.K.A. The killer tyre movie, and in the decade since he’s continued […]
Swallow (2019) the Horror of Control (Review)
A theme of David Cronenberg’s work with horror was the tenet that the human body is far more terrifying than any monster or external violence. His work revolved around the corruption of the human form with all manner of disturbing aberrations. Post-Cronenberg, the concept of body horror has become inanely […]