Reflection in a Dead Diamond is a loving and deeply satisfying riff on classic spy tropes with a true and abiding love of the genre.
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Exploring the Outer Edge of Film
Reflection in a Dead Diamond is a loving and deeply satisfying riff on classic spy tropes with a true and abiding love of the genre.
The rhythms of village life are perceptively captured in Huo Meng’s intimate epic Living the Land, which is handsomely made but holds the audience at a remove.
Some Nights I Feel Like Walking doesn’t buy into the glittery tropes of recent queer cinema — instead diving into the harsh realities of gay life.
Serbian stories take centre stage at Cottbus, with Dwelling Among the Gods and When The Phone Rang, as well as the Croatian Good Children.
Pavements is a biopic, musical and exhibition, with Alex Ross Perry applying the idiosyncratic spirit of the 90s band to novel forms of cinematic expression.
A fat straight man finds a new lease of life when he sends his self-portrait into a gay magazine in Devin Shears’ touching debut Cherub.
With hints of Zodiac and Seven, Fabrice du Welz’s new thriller Maldoror — charting the real-life murders of Belgian serial killer Marc Dutroux — aims for that nasty, slow burn.
The dehumanisation of seeking asylum is piercingly explored in Alexandros Avranas’ horror-but-not-horror Quiet Life. Live from Venice Film Festival!
In a cinema culture dominated by Hollywood, Festival de Vitória, now in its 31st year, puts a necessary spotlight on homegrown Brazilian film.
Jean-Christophe Meurisse’s Plastic Guns doubles down on the provocations of Bloody Oranges in an off-kilter, hilarious and deeply nasty farce.