This was such a contrast to AnyMart (2026) which hid its horror shocks behind a whole lot of scene development. Species – or Blood as its original title translates – hits you with it in the first act and is delightfully gory and darkly comedic.
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It’s hard to know how to appreciate films that are so much of their time. This film by William Klein, who is more often known as a fashion photographer, was made in the 60s as a satire of the fashion industry.
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There is a warning at the start of this film that it contains references to child sexual abuse and so you know it is going to be potentially a tough watch.
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This is the first film of the festival so far where I felt completely emotionally enveloped by its story.
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It was with a small amount of trepidation that I saw this latest from one of my favourite directors Asghar Farhadi (or as Facebook autocaptioning calls him, Glasgow Harvey).
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This is my first Radu Jude and his first film set in France. I have it on good authority that it is perhaps significantly shorter than some of his other films and maybe not quite so anarchic.
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There is no schadenfreude like watching the uber wealthy cause trouble for each other.
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This started off like Dracula: Origins, and I thought, well that’s interesting, but it felt like Luc Besson couldn’t help himself by turning it into a spectacle that achieved less than hoped.
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There is a lot to love about this stylish French psychological drama which delves into the charms and failings of psychoanalysis and the difficulties when we don’t heed our own advice.
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