film directors
graham.rickson
Karel Zeman’s Invention for Destruction (Vynález zkázy) was, for many years, his best-known film in the West, dubbed into English three years after its 1958 premiere as The Fabulous World of Jules Verne by an enterprising Hollywood producer. Both versions are included on Second Run’s release, and it’s striking that the English version retains most of the original’s charms. Zeman’s Baron Munchausen is a colourful romp, but the monochrome Invention for Destruction is a better work, its eye-popping visuals here serving a semblance of plot.Zeman based his plot on Verne’s novel Facing the Flag, a Read more ...
Demetrios Matheou
Like Ken Loach and the Dardennes brothers, Laurent Cantet is a filmmaker with a keen interest in social issues and themes, often using non-professional actors and a naturalistic approach, but perfectly willing to inject a little plot contrivance to spice things up.The Frenchman’s early, calling-card films dealt with the workplace: Human Resources (1999) tackled industrial relations in a provincial factory and the divisive effect it has on a father-son relationship; Time Out (2001) concerned an executive’s painstaking attempt to fabricate a glamourous new working life Read more ...
Nick Hasted
The first Suspiria was a sensation, and spectacularly, monomaniacally new. Its young heroine Susie Bannon’s ride from an innately hostile airport through eldritch woods in which a panicked girl ran from her destination, the Markos Academy of Dance, as Goblin’s rock score gibbered and pounded at the senses, was hysterical, relentless film-making. In 1977, Dario Argento had daubed the giallo thriller tradition lurid red, offering ultimate horror.Luca Guadagnino will not be rushed. His Suspiria is long, slow, sometimes torpid and diffuse. His 1977 is a resonant historical period, in which winter Read more ...
Graham Fuller
A revelatory moment comes hallway through Wildlife when frustrated American housewife Jeanette Brinson (Carey Mulligan) is observed standing alone in her family’s backyard by her 14-year-old son Joe (Ed Oxenbould), the film’s anxious, steadfast protagonist. Wearing curlers, an off-white sweater and jeans, her face made-up to go out, Jeanette has a harsh, fatalistic look on her face that is new. Initially optimistic, she has been steadily souring on her marriage since her husband Jerry (Jake Gyllenhaal), too proud to take back the golf pro job from which he was sacked, departed to fight a Read more ...
Veronica Lee
Considering how the UK prides itself on having created the "Mother of Parliaments" and its citizens having once chopped off a king's head for thwarting its will, remarkably little is taught in our schools about one of the seminal events on the way to fully democratising this country: the Peterloo Massacre.Mike Leigh's spawling, intricately detailed film will give you a good overview of that appalling day in British history; on 16 August 1819 an undisciplined and badly led group of mounted and foot soldiers – whose commanding officer had a more pressing date at the races – charged with sabres Read more ...
Owen Richards
On 22nd July 2011, on a tiny island off the Norwegian coast, 69 young people were killed, with another 109 injured in a terrorist attack. It was the darkest day in Norway since World War Two, and one that is still evident in its news, politics and society today. But somewhere down the line, the victims became background noise to the circus around the aftermath and perpetrator. It was something that director Erik Poppe could not ignore any longer.Utoya: July 22 is his response. Working directly with the survivors and families, he sought to tell their story and remind people of what really Read more ...
Owen Richards
If a Queen biopic called for drama, scandal and outrage, then Bohemian Rhapsody spent its fill in production. Several Freddies had been and gone, rumours swirling about meddling band members, and then director Bryan Singer’s assault accusations caught up with him. In a way, it’s impressive the film came out so coherent. However, coherence does not mean it's good. Is the film as bad as some are making out? Well, yes and no.We meet Freddie Mercury (Rami Malek, completely at one with the great one) working at Heathrow Airport, all buck teeth and flamboyant outfits. But he’s not yet the confident Read more ...
Demetrios Matheou
It’s not for nothing that Alfonso Cuarón’s mercurial CV includes Harry Potter and the Prisoner of Azkaban, because this director really knows something about alchemy. His last, the Oscar-winning Gravity, was a science fiction spectacular made oddly intimate by its focus on a lone astronaut in the expanse of space; his latest concerns the travails of a domestic worker in Mexico City, and is a family story with the visual expression of an epic. That versatility and facility are the domain of a master filmmaker. And the glorious Roma may well be Cuarón’s best yet. The Mexican’s Read more ...
Owen Richards
Watching Matthew Holness’ debut feature Possum, you’d be forgiven in thinking he was a tortured soul. Lead character Phillip (played by Sean Harris, pictured below) is a lean marionette of a man, prone to horrific flights of fantasy involving a human-headed spider puppet. Nauseating sequences are punctuated by the unmistakable drones of the BBC Radiophonic Workshop, while the significance of a local kidnapping begins to seep into Phillip’s life.In person, whatever dark shades Matthew Holness has are well hidden. As charming as he is self-effacing, he speaks passionately about crafting a film Read more ...
Thomas H. Green
“Psychopathologies come and go but they always tell us about the historical time period in which they’re produced.” So says the journalist and academic Chris Hedges in Lauren Greenfield’s documentary Generation Wealth. The idea the film plays with is that a psychopathology which currently dominates to a morbid degree is our obsession with being rich and, as much, with the public signifiers of wealth. Its hour and 40 minutes length is never dull, offering up regular revelatory tidbits, but rather than a driving sense of focus and purpose, Greenfield chooses to wander her chosen terrain in a Read more ...
Saskia Baron
Ferenc Török is firmly aiming at the festival and art house circuit with his slow-paced recreation of one summer day in rural Hungary. A steam train stops at a rural siding, two Orthodox Jewish men descend and with minimal speech, oversee the unloading of two boxes onto a horse drawn cart and start their long walk into town. The station-master sets off on his bicycle to warn the inhabitants of the imminent arrival of these strangers. It’s not long after the end of hostilities but Japan has yet to surrender. This little Hungarian town is in limbo, liberated from the Germans but not yet Read more ...
Adam Sweeting
The story of French author and transgressor of social mores Colette has been told before on screen and in song, but this new film version (shown at London Film Festival) from director Wash Westmoreland not only zings with zeitgeisty relevance, but gives each of its stars, Keira Knightley and Dominic West, one of the meatiest roles of their respective careers. As Colette, Knightley grows before your eyes as she evolves rapidly from sheltered country girl (she was born Sidonie-Gabrielle Colette in Saint-Sauveur, Burgundy) to fearless denizen of the salons, boudoirs and stages of Belle Époque Read more ...