Khaled Alesmael is a multi-award winning journalist, author and short filmmaker. He worked in Syria and the Middle-East for more than fifteen years and was the correspondent for Radio France International from Damascus. In exile, his works appeared on Swedish Television and Radio, newspapers and magazines. He has also worked for the daily German newspaper … More Film critics workshop 2019: meet the participants
We know that allowing sections of history to be forgotten is damaging to our future, so shouldn’t we treat fiction films with the same regard? Tara Jennett reflects on life after release for Leslie Harris’ Just Another Girl on the I.R.T> … More Just Another Film Without a Life After Release
Catherine Pearson shares three searing poems in response to Lynne Ramsay’s You Were Never Really Here. … More Until It’s Over, Jellybean and A New Day.
A gay romance based on E.M. Forster’s novel of the same name, Maurice threatened the very essence of the conservative sensibility cherished by its target audience, Neil Ramjee writes. … More James Ivory’s parallelism: from Maurice to Call Me by Your Name
If a film has been lost or relatively forgotten over time, or if a film needs revisiting, festivals that centre around reappraising the cinema of the past provide an excellent step towards the behemoth of film history, Hannah Ryan writes. … More Film History: rediscovery for a new crop
By offering the story of a young woman who, against all odds, remains the master of her own narrative in a world all too ready to render her another statistic, Leslie Harris offers the audience something to believe in, Rebecca Liu writes. … More Black, female and free: mastering your narrative in Just Another Girl on the I.R.T.
Celebrating its 25thanniversary, Gurinder Chadha’s Bhaji On The Beach (1993) encapsulates more than the zeitgeist of 1990s cultural acceptance – it aims to define it, Neil Ramjee writes. … More Did Bhaji on the Beach change the face of women-led British Asian Cinema?
The Terminal Man (1974) posits inherent fascism in information technology and is represented by two figures: 0 and 1. And binary leaves no room for interpretation, Paul Farrell writes. … More The binary code of The Terminal Man
Introductions are wonderfully exciting things, foreshadowing and engaging with various elements of a film you are about to see, but, more often than not, encourage a view of the film through a specific critical lens: is it time to move beyond the introduction? Tara Jennett asks. … More Time to move beyond the introduction? Context and intent in Tracey Moffatt’s beDevil
Cinema Rediscovered dedicated an entire strand to female voices, marking an attempt to refocus attention and engage with both the work and its outsider position, Jessie McGoff writes. … More Female directors and the process of (re)discovery