For the first time in cinema history, the most prominent filmmakers of the day are retreating from portraying modern life. Why is this? And what effect does this have? Essay by Noah Sparkes.
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Understanding the filmmaking intent of Alex Garland: an analysis of Garland’s philosophy and use of iconography in his 2022 feature film ‘Men’. Essay by A. D. Jameson.
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How Sofia Coppola mastered the art of historical inaccuracies in her modern and influential ‘Marie Antoinette’, starring Kirsten Dunst as the titular teenage royal. Essay by Emi Grant.
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Kogonada takes inspiration from Hirokazu Koreeda for his “exceptionally beautiful” 2022 film ‘After Yang’ starring Colin Farrell as the father of a young robot. Review by Mark Carnochan.
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John Michael McDonagh returns to form with ‘The Forgiven’ starring Ralph Fiennes and Jessica Chastain, an upper class couple who accidentally kill a Moroccan boy. Review by Mark Carnochan.
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Park Ji-min embodies someone trying to find their place in the world in Davy Chou’s tale of lost identity, ‘Return to Seoul’ (2022). Review by Jake Gill.
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A young boy seeks to return an Oscar statue to its rightful owner in the UK-financed, Iran-set ‘Winners’ (2022) from director Hassan Nazer. Mark Carnochan reviews.
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Eric Gravel directs Laure Calamy in ‘Full Time’ – picture the Safdie Brothers directing a film about a single mother. Review by Mark Carnochan.
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Upcoming Swedish director Jöns Jönsson proves he’s a filmmaker to keep your eye on with the subtle but interesting ‘Axiom’ (2022) starring Moritz von Treuenfels. Review by Mark Carnochan.
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Cineworld Group plc is filing for bankruptcy. Here’s what happened, how it happened, and why you should care about it. Story by Joseph Wade.
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The world's 2nd largest cinema chain, Cineworld, have announced that