Head of LFF 2018 tells us What’s Worth Seeing
The pre Awards Season festival season is well under way, with Venice and Toronto behind us, Raindance coming to an end and the
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Returning film-makers put a Hex on Raindance
Six years ago, a blood-soaked, low-budget, independent film called Dark Hearts, directed by Rudolf Buitendach and written and produced by Christian Piers Betley,
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Bollywood film Mulk challenges both Indian nationalism and the Islamic terror threat
The Bollywood film, Mulk (Country), is a powerful drama and a timely reminder of the struggle Muslims face in India about their identity
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Cannes 2018 – The Second Wednesday
It was my last day in Cannes, so for once, I had to make sure I was up for the 8.30am screening. In Under the Silver Lake, Andrew Garfield stars as a guy who’s just lost his job and is on the verge of losing his LA apartment, when he gets involved with a girl who disappears and then turns up dead, alongside a missing businessman.
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Cannes 2018 – The Second Tuesday
Spike Lee explains why he takes a pop at the US President at the end of his Palme d’Or-nominated film, BlacKkKlansman. Press conferences
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Cannes 2018 – The Only Monday
Today started with more talk of how to improve inclusion in the UK film industry with an all-woman panel discussion at the UK
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Cannes 2018 – The Only Sunday
My day started with a sobering experience; I found out what it was like to be part of a minority in the film
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Cannes 2018 – The First Saturday
As I took my place at this morning’s press conference for Jean-Luc Godard’s Image Book, in the hope that I’d end up with
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Cannes 2018 – The First Friday
Today’s early film was from the Polish director Pawel Pawlikowski, whose previous film Ida won the Oscar for the Best Foreign Language film.
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Cannes 2018 – The First Thursday
I’d forgotten how tough Cannes is, being out late, staying up even later to file contemporaneous articles and then waking up early enough
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Cannes 2018 – The First Wednesday
Every festival delegate was given a post-card to remind them not to commit the grotesque sin of taking selfies on the red carpet
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The Gifted have a Good Time in Dunkirk, not Hampstead: What’s Worth Seeing from 2017 and what isn’t.
2017 has been a tumultuous year for the film industry, courtesy of the man once branded “God” by Meryl Streep – the formerly
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What’s Worth Seeing from the 2017 London Film Festival
It’s been another busy twelve days for Maria Duarte, sifting through the best that the London Film Festival has to offer, with at
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BFI’s Clare Stewart tells us What’s Worth Seeing at the London Film Festival
The head of the London Film Festival, Clare Stewart, tells us What’s Worth Seeing at this year’s event, picking five films not to be missed.
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Opening FrightFest with Cult of Chucky is Child’s Play
As another summer draws to a close, horror fans are flocking to the cinema to be scared out of their wits for a
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Cannes 2017 – The Second Saturday
For the last time this Cannes, I was up early to get to the 8.30am screening. This was Roman Polanski’s late addition to the festival, out of competition, Based on a True Story – which was based on a novel, which wasn’t itself a true story.
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Cannes 2017 – The Second Friday
After another late night, I’d decided to give myself another late morning, but after someone drew my attention to an early screening of Patti Cakes, a Sundance success that was playing in the Directors’ Fortnight strand, I decided to give it a go.
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Cannes 2017 – The Second Thursday
With every film in the two official strands at Cannes being a world premiere, rarely has much been written about the selected films
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Cannes 2017 – The Second Wednesday
It was another early start for one of the most hotly anticipated competition titles of the year; Sofia Coppola’s remake – or re-imagining – of Clint Eastwood’s 1971 US civil war era drama, The Beguiled. I was particular keen to see it in the light of some early suggestions that the film was so poor, people were laughing at it.
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Cannes 2017 – The Only Tuesday
This morning, I granted myself a well-earned lie in, eschewing the Japanese Palme d’Or competition entry screening at 8.30am and instead, ensuring that I made it to the Palais in time to see Jeune Femme, a low budget drama from first time French director Léonor Serraille, screening as part of the Un Certain Regard strand.
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