Film Review: Hilma (2022)
Lasse Hallström’s biopic of Swedish abstract artist Hilma af Klint struggles to unpack the originality of the artist’s life andContinue Reading
Category: Marie O’Sullivan’s Film Reviews
A Room of My Own – London Film Festival 2022
Marie’s final report from #LFF22 hops over to Tbilisi, Georgia, to discover how difficult it is for contemporary young womenContinue Reading
Subtraction – London Film Festival 2022
Take a slice of Denis Villeneuve’s Enemy, a good pinch of Asghar Farhadi and the lightest sprinkling of Wong Kar-Wai’s In theContinue Reading
The Cloud Messenger – London Film Festival 2022
A distinctive and unique first feature from Rahat Mahajan, which blends ancient myth and modern high-school romance. Some entrancing traditionalContinue Reading
More than Ever – London Film Festival 2022
With a nuanced performance of a character in turmoil from Vicky Krieps, and featuring Gaspard Ulliel in his final screenContinue Reading
Robe of Gems – London Film Festival 2022
A first feature from Mexican Natalia López Gallardo, Robe of Gems centres on three very different women and their lives in theContinue Reading
My Imaginary Country – London Film Festival 2022
Acclaimed Chilean documentarian Patricio Guzmán returns yet again to his homeland to chart an unexpected people’s revolution, one which couldContinue Reading
The Woodcutter Story – Lond Film Festival 2022
Surreal, philosophical, and with a humour darker than a December night in Lapland, The Woodcutter Story is a Finnish tale of hopeContinue Reading
The Woman in the White Car – London Film Festival 2022
A labyrinthine plot with a few too many twists in the second half, The Woman in the White Car is nevertheless anContinue Reading
1976 – London Film Festival
In competition at London Film Festival in the First Feature category, 1976 is actor-turned-director Manuela Martelli’s observation of a woman most definitely out ofContinue Reading