Film

“The sexual act, successfully performed, was rebellion,” wrote George Orwell, envisioning the dystopian kibosh put on human spirit by the jackbooted state in Nineteen Eighty-Four. Little did he realize that his sweeping prescience would extend to the premise of the new rom-com One Night Only, afilm that for legal reasons cannot be officially titled Sex

Within the growing tradition of films about making films, Orian Barki and Meriem Bennani have carved out adistinctive emotional landscape in which to explore that process. Like Gints Zilbalodis’Flow,Bouchra demonstrates the possibilities of using an open-source 3D software like Blender to explore the possibilities of visual storytelling. Beyond the technology behind it, the film’s greatest

“Unfortunately, I’m addicted to dreaming,” James Bidgood said in a2010 interview with Butt Magazine when describing his relationship with fantasy. Indeed, across photography and filmmaking, but also in window-dressing, styling, costume design and performance, Bidgood would translate the land of his dreams into ahyperstylised reality with displays of beauty that pulsed with agenuine aesthetic power.

Some films ask to be watched;Love Me Tender asks to be felt. Anna Cazenave Cambet’s quietly devastating adaptation of Constance Debré’s 2020 novel unfolds like along exhale, exploring the fragile space where love, identity and motherhood collide. Vicky Krieps delivers another captivating performance as Clémence, aformer lawyer whose decision to leave her marriage after embracing

This film is aimed at avery specific niche of Tove Jansson fandom – it’s for an elite tier who aren’t interested in her as creator of those lovable moppets, The Moomins, but as an author of soft-edged, new-agey autofiction. It sees young Sophie (Emily Matthews) and her introverted, work-addled father (Anders Danielsen Lie) heading to

The first time we see Cap’n Clark’s Ottoman Empire inBackrooms, the furniture store owner squints his eyes at the front window as abright red, spray-painted ​“RIP OFF” glares back at him. As he enters, generic signs reading ​“ENTIRE STORE ON SALE!” and ​“EVERYTHING MUST GO!” decorate the ceiling. It’s abundantly clear that this is not

The question of survival becomes aspiritual one: how does the soul survive in aworld where the body is denied freedom or agency? InPitfall, agency disappears along with the spark of life, leaving the Miner to navigate aworld inhabited by silent, looping spirits in the abandoned town he moved to before his death.Woman in the Dunestakes

Will Tom Holland, who we just sawstruggling to live up to his father’s legacy in Christopher Nolan’sThe Odyssey, ever grow up? From his big break as one of the Billy Elliotts on the West End to the adorkable teenage web-slinger, Holland seems to have been coming-of-age for over adecade. In this latest instalment of what

In the first episode, Fleabag-as-narrator initially presents as awoman in control of her own story, the type of cosmopolitan best friend you might grab araucous, profanity-laden brunch with, then go home and secretly worry about. Sure, she goofs up: she beds some subpar candidates thanks to avoracious sexual appetite, gets into passive-aggressive cold wars with

While planes roar overhead on their way to or from nearby Luton Airport, Ish (Farhan Hasnat) and his best friend Maram (Yahya Kitana) ride their bikes through the suburbs in search of summer diversions. As the holidays stretch out in front of them, so too do their imaginations: in the scrubland they build aden out

Christopher Nolan’sThe Odyssey is so stuffed with technical triumphs that singling out one feels alittle like complimenting Poseidon on his puddles. The world’s largest operational Viking ship replica! The first film photographed entirely on IMAX! Astrapping, 3.5‑tonne stallion of aTrojan Horse! All remarkable. All very Nolan. But his most unlikely filmmaking feat? Making the Cyclops

Silent cinema has long had areputation of antiquity, seen by most of the 21st century film audience as outdated, irrelevant and culturally redundant. The narrative of film itself has always been driven by the advent of popular new technology. In 1927,The Jazz Singer took audiences by storm, shifting popular cinema into the era of talkies

Truth &Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth &Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news,

“Synchy is useful for me,“ Temirzhan explains. ​“When I’m not making afilm, Ican still engage with cinema and grow our critics’ community.“ Where he finds the time to run and write for the publication is amystery, given the fact he is also ahighly prolific filmmaker in his region. As co-founder of the grassroots film collectiveTartaly,

With regards to the dialogue and American/​British accents used in place of more accurate speech – Emily Wilson, whose translation of​‘The Odyssey‘ was Nolan and Damon’s north star, hassuccinctly hit that nail on the head. Similarly, it’s hard to get too worked up about the historical realism of the costumes in afilm where a60ft cyclops

Truth &Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth &Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news,

Do you remember sending the cast, maybe it was just Ricki Lake, but you sent them aVHS tape demonstrating some of the Hairspray dances, the Mashed Potato… Do you remember making thattape? Oh yeah, Imade it with the real people who were on the committee of The Buddy Deane Show. The real people, they helped

Since Sam Raimi’s gruesome franchise was brought screaming back to life with the 90-minute bloody ascension that is Evil Dead Rise, atrilogy of Deadite movies was promised. Second up to command thosedemonic sickosis director SébastienVaniček, but can he sustain this hellish crescendo? Enter the dysfunctional family, newly widowed Alice (Souheila Yacoub), and the grieving family,

“It will be ​‘green,’ but amost wonderful green, agreen which no artist could ever obtain on his palette, agreen which neither the varied tints of vegetation nor the shades of the most limpid sea could ever produce the like! If there be green in paradise, it cannot but be of this shade, which most surely

To ​“shoot the people“ means not only to capture them, but to bear witness, and to use the camera as aweapon of testimony. Such is the ethos of Andy Mundy-Castle’s documentaryShoot the People, which follows Nigerian-British photographer and activist Misan Harriman – the first Black male photographer to shoot the cover of British Vogue –