Like an exquisite painting itself, Portrait of a Lady on Fire will have you enraptured with its serene beauty, delicate detail, and careful storyline.
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A rumination on youth, success, relationships, paralysis and fading, Pain and Glory offers a poignant insight into the life of an acclaimed, aging director. Pedro Almodóvar directs Antonio Banderas in a self-modelled role to explore with great subtlety the reflectiveness evoked when an individual’s physical impasse is reached.
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The unlikeliest of boy bands, ten Cornish fishermen will have you tapping along to sea shanties in the buttery feel-good flick Fisherman’s Friends.
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Antonio Banderas stars in Pain and Glory, a film which earned him a best actor award at 2019’s Cannes Film Festival.
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For a movie based on “an actual lie”, Lulu Wang’s family drama The Farewell ruminates long and hard on the stark truths of loss, grief, family and well-intentioned deception.
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When Stephen King, Guillermo del Toro and Neil Gaiman heap praise on a film, it automatically becomes a must-watch, and such is the case with Tigers Are Not Afraid.
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The full MIFF program for 2019 has dropped, with the big news that Quentin Tarantino’s latest, Once Upon a Time in Hollywood will be premiering at the long-running festival.
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Visually arresting and equally enthralling, Scandinavian cinema is continuing to cement itself as a major player on the global circuit. Hlynur Palmason’s A White, White Day is an impressive addition to the growing Scandi film canon and has already garnered significant praise.
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The Realm opens inconspicuously – a man in a suit finishes a phone call while staring out to sea. The camera tracks him as he crosses the sand, walks up the grass to a restaurant, through the back door into the kitchen where he lifts a platter of shrimp and strides into the dining room of the restaurant.
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Rising star Awkwafina features in the trailer for the heartfelt new dramedy film The Farewell from director Lulu Wang.
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‘Ola De Crimenes’ (Crime Wave) throws you straight into the rollicking, over-the-top absurdity of Spanish comedy.
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Everybody Knows further proves why Iranian director Asghar Farhadi is the master of family-centred, tension-filled dramas, even if it’s his most Hollywood-ized work yet.
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Single location films aren’t easy to pull off and on the rare occasion when done right (like in 2010’s Buried) they can be quite engaging and fast-paced. The Danish-set The Guilty, without a doubt, falls into the engaging category, but not only does it keep our adrenaline pumping, it unfolds layer upon layer with a situation you don’t see coming and will leave you assessing what our protagonist (and the audience) has had to deal with after the final credits roll.
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Capharnaüm opens with our protagonist Zain (Zain Al Rafeea), impossibly tiny in his handcuffs, suing his parents for giving him life.
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