Tilda Swinton
The French Dispatch is a love letter to journalists set in an outpost of an American newspaper in a fictional 20th-century French city.
The Personal History of David Copperfield is a truly sincere retelling of Dickens’ story, one that taps into a new contemporary edge and presents itself in a distinctly cinematic fashion.
Armando Iannucci’s strange eye is turned to Dickens in The Personal History of David Copperfield.
The Souvenir is a refreshingly honest look at first love, class and privilege and includes a great performance by Honor Swinton Byrne. Janet Lee reviews.
In The Dead Don’t Die, the peaceful town of Centerville finds itself battling a zombie horde as the dead start rising from their graves.
As a work of storytelling, Guadagnino’s reimagining of the canonical giallo is a boring mess with higher thematic aspirations than it’s able to realise.
Luca Guadagnino’s remake of Dario Argento’s Suspiria seeks to get under your skin, intimately and irreversibly – and succeeds in doing so.
In a world full of soulless remakes, Luca Guadagnino’s Suspiria is one that has the potential to be fresh, exciting and unique.
Salamis Aysegul Sentug examines a trilogy of movies that not only embrace the art of night but also celebrate it as a field of creative space where artists and writers venture out.
We’re addressing what other people are saying about Okja – in particular, its most common criticisms, and why they’re wrong.
The Seasons in Quincy is a series of four essays that each paint a portrait of the late John Berger, an extraordinary and versatile artist.
A remake of the 1969 Italian-French film La Piscine and partly inspired by David Hockney’s ‘Swimming Pool’ painting, A Bigger Splash is the fourth feature film from Luca Guadagnino, and has already made significant waves with critics and audiences alike (sorry for the absolutely appropriate pun). Starring Tilda Swinton as rockstar Marianne recovering from throat surgery, and Matthias Schoenaerts as her ever-loving albeit boring boyfriend Paul, the two of them aim to escape life to an idyllic Italian island in the middle of the Mediterranean. No phones, no work, no interruptions.
There is only one theatre within reasonable driving distance where I can go to see the smaller, limited release films that come out. On their website they list any small film as an “art film”. When I finished watching Snowpiercer this title seemed like a complete misnomer.
Last weekend I attended a screening of Jim Jarmusch’s latest production, Only Lovers Left Alive, at the Luna Leederville Cinema here in Perth (which, by the way, is a beautiful original 20’s art deco cinema). While I’ve only seen two of Jim Jarmusch’s movies (Coffee and Cigarettes and Dead Man), Only Lovers Left Alive has Jarmusch’s distinctly recognizable style: it’s dark, pretty, it’s gritty, and very witty (how’s that for rhyming?