Film Noir Style: Peggy Cummins in Gun Crazy
As the clocks turn back and the weather turns cold, I turn back to my favourite genre, film noir, transforming…
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War as absurdity: Kihachi Okamoto’s Desperado Outpost
Desperado Outpost (Dokuritsu gurentai, Japan, 1959) starts with shots of a man on horseback in a landscape reminiscent of a…
Frustrations of the Family Dynamic in Joanna Hogg’s Archipelago
Joanna Hogg’s second feature film follows in the footsteps of her first. Like Unrelated (2007), Archipelago (2010) is a brutally…
Searching for salvation: Kei Kumai’s Deep River
Kei Kumai’s Deep River (Fukai Kawa, Japan, 1995) starts with images of a Hindu temple in ruins and shots of…
Lost Classic: Taylor Sheridan’s Wind River
Taylor Sheridan’s Wind River (2017) pitches us into an unforgiving wintry environment and declares once and for all, as if we…
Todd Solondz: The home as a battlefield in Happiness and Life During Wartime
In Happiness (1998), the ever-smiling Trish (Cynthia Stevenson), in her neat kitchen, is strongly reminiscent of the female ideal as…
Lost Classic: Tony Williams’ Next of Kin (1982)
After languishing in obscurity for decades, Tony Williams’ cult horror oddity, Next of Kin (1982), has finally been released on…
The long way back to normality: Shohei Imamura’s The Eel
After serving eight years in prison for the murder of his wife, Takuro Yamashita (Koji Yakusho) is released on probation…
How Andrzej Wajda used cinema to reveal hidden truths about his nation
Andrzej Wajda started his career as a filmmaker in post-war Poland. His early films – A Generation, Kanal, Ashes and Diamonds, Lotna and…
