Indian filmmaker Payal Kapadia’s new film, All We Imagine as Light, won the prestigious Grand Prix award at the 2024 Cannes Film Festival in May. The film exhibits an Indianness that is distinctive from the one most frequently represented globally. Within mainstream Hindi cinema, India is often presented as a homogeneous Hindu, upper-caste, middle-class Hindi-speaking… Continue reading All We Imagine as Light review — disrupting popular narratives of Mumbai
The Dr. Strangelove stage adaptation at London’s Noel Coward Theatre delivers a hilarious, engaging, and thought-provoking experience. Armando Iannucci’s adaptation, directed by Sean Foley, stays faithful to Stanley Kubrick’s Cold War satire while providing a fresh theatrical spin. Steve Coogan, taking on the roles of Captain Mandrake, Dr. Strangelove, President Muffley, and Major TJ Kong,… Continue reading Steve Coogan shines in Dr. Strangelove: a hilarious, faithful spin on Kubrick’s classic from Armando Ianucci
“Tennis is a relationship”, says Tashi Duncan (Zendaya) in director Luca Guadagnino’s new film Challengers. However, this relationship is not simply between the game and the player. Rather the heart of tennis, and perhaps of all competition, is a three-way relationship between two contestants and a third person. Their presence, and observation, is what gives… Continue reading Challengers review — Luca Guadagnino’s tennis film reviewed by an expert in the psychology of competition
2001: A Space Odyssey is a landmark film in the history of cinema. It is a work of extraordinary imagination that has transcended film history to become something of a cultural marker. And since 1968, it has penetrated the psyche of not only other filmmakers but society in general. It is not an exaggeration to… Continue reading 2001: A Space Odyssey still leaves an indelible mark on our culture 55 years on
It is the centenary of the cinema premiere of the German horror film Nosferatu. Now recognised as a classic of the silent era and one of the first examples of cinematic horror, it used elements of gothic style to present a dark dream world. Ripe with undertones that link it not only to contemporary troubles,… Continue reading Nosferatu at 104 — how the seminal vampire film shaped the horror genre
It’s one of the most famous climactic scenes in film: a tense and shocking denouement that sees a series of brutal assassinations intercut with the central character calmly renouncing Satan as he becomes godfather to his nephew. Considered one of the great classics of American cinema, the triple Oscar-winning The Godfather turns 50 on 14… Continue reading The Godfather at 56 — celebrating the mob saga that raised the bar for gangster films
Fresh from All of Us Strangers (2023), Andrew Scott plays the title role in Netflix’s new series Ripley, a miniseries based on Patricia Highsmith’s 1955 novel The Talented Mr. Ripley. News publisher Out claimed Scott’s Ripley for gayness. However, Scott’s own aspirations are more ambiguous, saying “he’s a queer character, in the sense that he’s… Continue reading Is Andrew Scott’s Ripley mesmerising or charmless — exactly as Patricia Highsmith wrote him?
The filmmakers behind Love Lies Bleeding (director Rose Glass and her co-writer Weronika Tofilska) are, as Glass describes “obviously … both film nerds”. The film has a broad archive of references ranging from the works of influential queer filmmaker John Waters to The Incredible Hulk (2008). A neo-noir, queer crime thriller, Love Lies Bleeding also… Continue reading Love Lies Bleeding review — this vengeful queer romance is a visceral cinematic experience
The film, directed by Mark Mylod, known for producing and directing the acclaimed series Succession, satirises the culture of high-end dining. From the perspective of our combined expertise in food and literary studies and sexuality studies, we’re interested in how the film asks us to consider what’s left when even the most fundamental bodily pleasures… Continue reading The Menu review — delve into foodie snobbery when you’re dying for a cheeseburger
Never one to downplay the power of film, Stanley Kubrick once said that “almost every novel could be successfully adapted”. He carried this confidence into his own filmmaking, working not from original screenplays, but from adaptations of novels as different as William Makepeace Thackeray’s historical romp Barry Lyndon (1844) and Vladimir Nabokov’s erotic fantasy Lolita… Continue reading White Noise review — director Noah Baumbach skilfully captures Don DeLillo’s “unadaptable” novel
