In a deeply cynical world, the moral clarity of WW2 escape drama The Last Chance is extremely refreshing.
Anyone Can Be a Hero in The Last Chance
Exploring the Outer Edge of Film
In a deeply cynical world, the moral clarity of WW2 escape drama The Last Chance is extremely refreshing.
Why Do I See You in Everything? surveys the notion of home amid living in exile, but feels unfocussed while tending towards the tedious.
Kelly Hughes’ long-unavailable and unique queer outsider artwork Twin Cheeks: Who Killed the Homecoming King? finally makes its way back into the public eye.
Dry Leaf, Alexandre Koberidze’s much anticipated follow up to What Do We See When We Look At The Sky?, is another meandering exploration of family and football.
Over the course of three hours, Alex Ross Perry knowingly charts the rise and fall of the video store, from cultural icon to modern irrelevance.
The queer and political Panorama section of the Berlinale is the true meat and bones of the festival — we go deep into its extensive line-up!
Tricia Tuttle’s Perspectives is a shiny new programme dedicated entirely to first feature films. We have the lowdown on whether they’re any good.
in retrospect explores the double-standards of Germany’s immigration policies: inviting people to come then demonising them for coming.
Thoughts of food and Medieval architecture permeate a curious second day at Cottbus, with a Kazakh Western and a Lithuanian comedy.
Puncturing through the noise of endless movies playing throughout the world with our selection of underseen 2024 festival favourites worth checking out.