Joker: Folie à Deux review - supervillainy laid low

The Old Man and the Land review - dark secrets of a farming family

The Old Man and the Land depicts a worn-out sheep farmer going about his dreary business as the seasons pass, darkly and dankly. He does it because he’s always done it, and because he doesn’t trust his 42-year-old daughter, Laura, despite her farming skills, or his 40-year-old son, David, the farm’s heir but an alcoholic and drug user who is unsuited to the work, to take it over.

The Teacher review - tense West Bank drama

It’s hard not to review the Israeli occupation of Palestine when writing about The Teacher. The political context of this first feature by British-Palestinian director Farah Nabulsi, who also wrote the screenplay, is so thoroughly appalling that it sometimes overshadows the TV-style melodrama onscreen.

Notes from Sheepland review - her farm is her canvas

Orla Barry laughed when she was advised to take up sheep farming, and not just because she had no experience. “Orla with the sheep eyes,” she calls herself and, indeed, in a stylized self-portrait, she does seem to have the placid, watchful gaze of a ewe.

Strange Darling review - love really hurts

“Are you a serial killer?” asks a woman sitting in a pick up truck with a man she just met at a bar. The neon sign from the motel they are parked outside bathes the couple in cool, blue light. “Do you have any idea of the risks a woman like me takes every time she agrees to have a bit of fun?”

My Favourite Cake review - woman, love, and freedom

The taxi cab has become a recurring motif in modern Iranian cinema, perhaps because it approximates to a kind of dissident bubble within the authoritarian state, a public space where individuals can have private and often subversive conversations.