Alcarràs, review: the single best film of the Berlin Festival
Five years ago, Carla Simón announced herself as a major filmmaker with Summer 1993, a supremely tender film about childhood that dealt obliquely with the Aids-related death…
Alcarràs, review: this must surely win the top prize at Berlin
Five years ago, Carla Simón announced herself as a major filmmaker with Summer 1993, a supremely tender film about childhood that dealt obliquely with the Aids-related death…
The Outfit, review: A hem! Mark Rylance cuts it brilliantly in this seamless whodunit
Who pulled the trigger on the return of the whodunit? The list of suspects is long and tantalising – as of course it should be. Could it…
Taurus, review: You may well detest this LA drama’s anti-hero – and still be moved
Taurus will be many people’s idea of hell – a portrait of narcissism, alienation and burnout in the LA music industry, made by and starring people who…
Both Sides of the Blade, review: Juliette Binoche embraces high melodrama in this tale of infidelity
Both Sides of the Blade is the third straight collaboration between Claire Denis and Juliette Binoche, following the loose, relatively minor Let the Sunshine In and the…
Dark Glasses, review: plodding slasher sabotaged by a weirdly aggressive Alsatian
The Italian horror maestro Dario Argento is an old dog (at 81) without too much interest in learning new tricks – certainly if his latest is anything…
Flux Gourmet, review: highbrow Jackass, led by a sensual Gwendoline Christie
Welcome to the Sonic Catering Institute – a forum for microphones to be plunged into bubbling fat, trips to the supermarket mimed, and a live colonoscopy projected…
Peter von Kant, review: gender-flipped remake of a 70s classic falls short
François Ozon owes a thing or 12 to the great German filmmaker Rainer Werner Fassbinder, whose work still blazes with cruel fire. Ozon came to the Berlin…