• Sun. Jul 14th, 2024

Frances Hadley

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A Tale of Two Donkeys

Polish director Jerzy Skolimowski’s new film EO is in many ways a fairly eclectic brew of influences, but its most obvious forebearer is Robert Bresson’s 1966 film Au Hasard Balthazar,…

Review: Empire of Light

Every now and then a film comes along so wrongheaded that it all but begs for a pithy put-down from the acid-tongued critic. Empire of Light is almost, but not…

Review: Confess, Fletch

The experience of watching Confess, Fletch felt like catching up with an old friend or rewatching an old favourite. It’s the kind of amiable mid-budget comedy that used to be…

Cult Column: Rio Grande

I was surprised after a recent viewing of John Ford’s Rio Grande to find that the film has a rather middling reputation, regarded as a second-tier work. It is admittedly…

Review: Crimes of the Future

One of the first images we see in David Cronenberg’s new film Crimes of the Future is a small boy eating a plastic bin, foaming at the mouth. He does…

EIFF 2022: Dream Agency Review

Dreams are famously rather nebulous and unfathomable things. Their elusive nature makes them objects of fascination, readily able to be picked apart in our great search for meaning. Dreams have…

EIFF 2022: Licht – Stockhausen’s Legacy Review

When Karlheinz Stockhausen died in 2007 he left behind a large body of work equally influential and controversial (English conductor Adrien Boult when asked if he had conducted any Stockhausen…

EIFF 2022: Flux Gourmet Review

In the past decade, Peter Strickland has emerged as one of Britain’s most exciting filmmaking voices. What makes his work so distinctive and so recognisable after only a handful of…