Funny Games and the Victimisation of the Audience
How Michael Haneke makes us as much the victims of his world-renowned horror film ‘Funny Games’ as he does his central characters. A feature essay by Jacob Heayes.
Read MoreHow Michael Haneke makes us as much the victims of his world-renowned horror film ‘Funny Games’ as he does his central characters. A feature essay by Jacob Heayes.
Read More‘New Order’ (2020), from Mexican filmmaker Michel Franco, is “a daunting but very well crafted art-house thriller”. Naian González Norvind stars. Review by Jack Cameron.
Read MoreIf you’re looking for an independent horror film to watch, the gripping, spooky, gory and unique ‘Fractured’ starring ‘Skins’ star April Pearson would make for a good choice. Sophie Cook reviews.
Read MoreHow in trying to avoid taking pointers from ‘The Wicker Man’, Ari Aster made the closest thing to it, ‘Midsommar’, and how both films use the same wisdom to terrify all of us. Article by Louis B Scheuer.
Read MoreRequiem for an American Dream – how Darren Aronofsky’s ‘Requiem for a Dream’ (2000) is about more than just drugs, it’s about commodification, capitalism and modernity. Article by Kristina Murkett.
Read MoreNika McGuigan and Nora-Jane Noone shine in Cathy Brady’s feature debut ‘Wildfire’, an Irish drama that ponders a lot of topics at the expense of its narrative. Jack Cameron reviews.
Read More“a great team of characters who forge a distinct and enjoyable chemistry” in Ruben Fleischer’s 2009 zombie hit ‘Zombieland’, starring Jesse Eisenberg and Emma Stone. Libby Briggs reviews.
Read MoreA journey into Italian Peplum, the cinema of mythical gods, muscle-bound heroes, sorcery and loincloths, as presented by Paul A J Lewis.
Read MoreHow Chang-Dong Lee purposefully obscures the truth in his 2018 mystery ‘Burning’ to provide one of the most engaging examples of the genre in decades. Article by Jack Cameron.
Read MoreBespectacled film characters have long been presented with a number of damaging traits, the least of which is “being a nerd”. Ciaran Duncan explores this problematic representation in this feature essay.
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