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I missed this one at MIFF and it’s a timely tale of the damage caused by a lack of love and acceptance. Johnny (Josh O’Connor) lives on an isolated Scottish farm with his dad (Ian Hart) and Nan (Gemma Jones). There’s not much warmth in his world. His dad, whose physical ability has been limited by a stroke, lets Johnny know of his expectations and also his constant disappointment. Continue reading
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On the surface, this is a charming and adept musical odyssey of Scottish folk music. Aidan Moffat, lead singer of band Arab Strap that gained some fame in the 90s, has developed an interest in traditional ballads. Continue reading
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More akin to Dogtooth than The Lobster, The Killing of a Sacred Deer takes time to show its hand but when it does, it slowly and surely builds to a devastating conclusion. Continue reading
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This clever and stylish black-and-white satire from Sally Potter plays out like a drawing-room comedy with on point performances from the cream of British actors. Continue reading
Sally Potter creates stories that resonate across generations with characters that are luminous. In Ginger and Rosa, she takes an experience from her youth and crafts it into an exquisite meditation on the schism between personal and collective identity and responsibility. Continue reading
All the more chilling for being based on real life rural witch camps in Zambia, Rungano Nyoni’s surreal tale of a young girl accused of being a witch works both as drama and allegory. Continue reading
Ninety minutes was enough time with the prickly, belligerent Daphne but I couldn’t help but wish her well. #MIFF2017 Continue reading
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Like A Quiet Passion, Lady Macbeth shows the anguish of a 19th century woman who has no choice and control in her life, but with a much bloodier and more satisfying resolution. Continue reading
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Very quiet. And a little bitter. This is not a bad movie but it left me feeling deflated and very happy to not be Emily Dickinson or a woman in the mid-19th century. Continue reading
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This solid adaptation of the Daphne Du Maurier novel retains the ambiguity of the original, leaving you guessing right up until the end. Rachel Weisz is perfectly cast as the enigmatic Rachel, the calm centre around which Sam Claflin’s Philip crashes and spins. Continue reading
