When I covered Agnieszka Smoczyńska’s Fugue and discussed it’s shocking and unsettling opening scenes, I thought that nothing would top that in terms of shock factor at this year’s Glasgo...
A woman teeters on her heels; unsteady on her feet. She’s walking on a railway line and her clothes are covered in soil. Suddenly, she reaches the station platform, which she then crawls awkwar...
You get a sense of what awaits you as the opening scene of Thunder Road unfolds. Adapted from a thirteen minute short film of the same name, the main character is presenting the eulogy for his recent...
Films like Border do not come along very often, especially to UK cinemas. This, more than anything else, is a good argument for the benefits that come from the likes of The Glasgow Film festival. The...
Actions have consequences. Even if they are not consciously made something that takes place leads to something else and a whole unknown path. This is the basis for the German movie The Most Beautiful...
Like most Spanish properties, Laura’s family home in a small village just outside Madrid has huge wooden doors that keep the dust and the noise of the square out. You can shut those heavy doors...
It’s a shame to think that many contemporary cinema goers will be unaware of the work of Elaine May. Which is why it’s so great that the Glasgow Film Festival are running May Days as one ...
In so many ways, The Sisters Brothers isn’t your typical Western. There isn’t an over abundance of violence; there are no Native Americans or other ethnic groups drafted in as a perceived...
Fear and paranoia are two incredibly useful tools in the search for control. If you create enough fear surrounding a particular community, ethnicity or religion, it almost creates a need for surveill...
Creaking old house in the middle of nowhere? Tick. Damian-esque child actor? Tick. Creepy old neighbour who likes to appear out of nowhere? Tick. You could say that Lee Cronin’s feature-length debut ...