Radical Film School and the Political Cinema of…
As a Palestinian filmmaker, Farouky has first-handedly experienced the fickle franchising of radical aesthetics from national platforms. He has previously been invited to screen his work
Making A Splash: Remembering Hockney Onscreen
It seems oddly fitting that David Hockney’s death should coincide with a heatwave. After all, nobody can evoke the languorous feeling of summer quite like the
Supergirl review – a mid-field superhero affair
For generations, Superman has been the poster boy of polished, all-American heroism. He meets his antithesis in Craig Gillespie’s Supergirl, a hungover, hot-headed vagabond carring enough
Nino review – fails to pull its punches
While at the GP collecting some routine test results, Nino (Théodore Pellerin) is suddenly asked if he has his cancer-care routine sorted. He’s shocked, as
Porous Encounters: A Queer East Correspondence
This is the second of three pieces published in collaboration with Queer East Film Festival, whose Emerging Critics project brought together six writers for a programme of
Disclosure Day | The War Of The Worlds | Close Encounters Of The Third Kind | E.T.
On Truth & Movies this week, we discuss Steven Spielberg’s Disclosure Day. We then take a look at some of his previous looks at alien
Time and Water review – a lament for a…
“I cannot send you a glacier, but at least I can send you this.” Time and Water sets out its purpose early on. Directed by Sara Dosa, whose
Disclosure Day review – distinctly lacking in…
So far, so Spielberg – he sets the stage for an ambitious, epic, action-heavy story about a group of do-gooders facing off against a sinister corporation. But
Scary Movie review – belated return of the…
Like an irksome stinging insect nonetheless vital to controlling excess animal population, the Scary Movie franchise serves a worthy function in a greater cultural ecosystem that continues
Inside Chronically Online: a big-screen…
The British Film Institute was following a similar trail of hyperlinks. Kitty Robertson, an assistant curator at the BFI National Archive, has been part of a two-year