

There is no schadenfreude like watching the uber wealthy cause trouble for each other.
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There is no schadenfreude like watching the uber wealthy cause trouble for each other.
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This cozy Irish documentary by Gar O’Rourke (Sanatorium (2025)) about the over tourism of the Cinque Terre sits with me slightly uncomfortably as I have been one of those tourists.
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The Melbourne Film Festival is doing a strand of films by Ulrike Ottinger this year and, not knowing anything about this director, I was drawn in by this one being set largely in inner Mongolia at a time where no western directors had previously been allowed to film there.
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Sad sad sad sad. I think I knew this was going to be about queer sorrow rather than joy, although I was drawn in by the period setting and Fiona Shaw.
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What a great film! I was sure I had seen it before but I absolutely hadn’t. And what I didn’t realise was that the person who shot Andy Warhol was Valerie Solanas! I feel like a bad feminist for not putting two and two together.
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This is not The Man with the Golden Gun. I think in the back of my brain I thought that’s what I was booking, a James Bond film.
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I haven’t seen a Mark Jenkin film before (Enys Men (2022), Bait (2019)) and so I wasn’t quite prepared for the lo-fi Bolex camera vibes of Rose of Nevada.
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How many people will go along to this new film by Céline Song (Past Lives) after seeing the winsome social media promos by stars Dakota Johnson, Pedro Pascal and Chris Evans and expect a standard romcom?
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This is one of those lovely, quirky films about a country you probably don’t know much about that balances humour with some serious themes.
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