... Set in 1825, Clare, a young Irish convict woman, chases a British officer through the rugged Tasmanian wilderness, bent on revenge for a terrible act of violence he committed against her family. As Ikoko points out, ‘That implies that all of the responsibility, therefore all of the kudos, is on them. We said: “About Endlessness continues in the style that Andersson has pursued since his return in 2000. We said: “First Cow has the down-at-heel period authenticity of, say, Robert Altman’s McCabe & Mrs. Miller married to the poignancy of Sam Peckinpah’s westerns, and it’s couched in an always playful anti-macho mood of laconic going-with-the-flow, while subverting the clichés of westerns. We said: “Some moments echo the confrontational, direct to camera stares of Barry Jenkins’s Moonlight (2016) and If Beale Street Could Talk (2018) it’s focused purely on the dynamics of Zed’s family and friends, the cast mostly populated by British-Pakistani actors. The projected image of a country taking giant modernising strides was somewhat at odds with a cruel reality in certain areas, one such being the coastal city of Cartagena, which was decimated by deindustrialisation in the 90s. This article lists feature-length British films and full-length documentaries that have their premiere in 2020 and were at least partly produced by Great Britain or the United Kingdom. News, reviews and archive features every Friday, and information about our latest magazine once a month. It was an honour to be there. Lee’s bravura, breakneck war drama, about a group of Black Vietnam veterans returning to the country decades after the war to recover the body of a fallen comrade, follows the blood line of America’s racial wrongs, from the civil rights era to Black Lives Matter. It’s about male friendship, midlife crisis and the cruelty of the modern human condition.” (Jessica Kiang), Read our review: In Another Round, Mads Mikkelsen and pals uncork their spirits, Where to see it: Postponed due to lockdown, rescheduled for 5 February 2021. The actual space is rendered in vibrant 16mm hues and the human interactions observed with warmth and playful humour, without ever losing sight of serious political purposes and the potential for poetry therein, nor of the bigger historical picture. “This is reinforced rather than offset by Marcello’s signature use of archival footage. Where America sought to reclaim lost histories, Time endeavours to commit to the screen an obscured, often ungraspable reality: the American prisonindustrial complex. Luis López Carrasco’s film is shot in a bustling workers’ café-bar in the city centre where it gathers the testimonies of people who lived through the period. In its deliberate pacing and rigorous focus, Tsai’s deeply compassionate portrait generates the most acute investment in his characters.” (Giovanni Marchini Camia), Read our review: Days: Tsai Ming-liang makes his peace with sexual release, Where to see it: Still awaiting UK distribution. This article lists feature-length British films and full-length documentaries that have their premiere in 2019 and were at least partly produced by Great Britain or the United Kingdom.It does not feature short films, medium-length films, made-for-TV films, pornographic films, filmed theater, VR films and interactive films. There’s a wide variety coming out – from big blockbusters like James Bond to smaller British indie films. Perhaps the only solution to a corrupt system is to burn the whole thing down.” (Catherine Wheatley), Read our review: Les Misérables: 24 hours of violence in the Paris streets, + interview: Ladj Ly on Les Misérables: “Film is a tool. The voyeurlike camerawork – lingering on every nook and cranny, insisting on empty spaces – gives the film a distinctive thrill, and the pacing is characterised by slow build-ups over racing emotions. Lovers Rock celebrates the reliefs of kinship and intimacy, as it tells the story of the tentative romance between Martha (Amarah-Jae St. Aubyn) and Micheal Ward (Franklyn), while at the same time offering a wonderfully immersive and nostalgic ode to the musical genre that gives McQueen’s film its name. We said: “Seeing the women crack skulls and femurs along with the lads has been the main through-line for the female characters of superhero franchises. Paul’s PTSD, which sees him descend into the heart of darkness, is a reflection of America’s broken conscience. So far, so western as the village increasingly comes under siege: it bizarrely disappears off the map, mobile signal disappears and corpses pile up. Martin’s trajectory from wide-eyed proletarian to jaundiced celebrity is drawn in one fluid stroke, the struggles and successes of his dual pursuit of a writing career and Elena Orsini’s hand all integrated within the same inexorable motion. It put us into the fervent hands and head of Morfydd Clark’s troubled young care worker as she brings her ministrations to Jennifer Ehle’s terminally ill ex-dancer. Frances McDormand is magnificent in Zhao’s powerful film about the people cast aside by today’s unforgiving economy, and forced to live on the road in the American West. Director:Taika Waititi Starring:Taika Waititi, Scarlett Johansson, Thomasin McKenzie, Roman, Griffin Davis Only Taika Waititicould get away with reimagining Adolf Hitler as a kid's imaginary friend. The initial impression that the film takes place, like the novel, towards the start of the last century is contradicted through subtle anachronisms. The brothers evoked Lionel Rogosin’s seminal classic On the Bowery (1955), embraced the collaborative, broke any made-up rules they needed to and used cinema to salvage nonfiction. But her third feature is fully mature: like Ryder’s lovely, clouded, wise-before-her-years gaze, it is informed by an almost ancient weariness at the way we treat young women, and the way the resilience and agency of girlhood is so frequently overlooked or condescended to. Asili’s debut weaves together the histories of the MOVE Organization, the Black Arts Movement and his time in a Black Marxist collective. “The savvy decision to allow the actors to play their younger selves in flashback sequences reinforces the film’s central thesis that past and present are intertwined. We said: “Koreeda’s French adventure is a substantial success, not least because he’s brought a lot of ideas and motifs from his Japanese films to the party. This model isn’t a kind of feminist utopia – it’s a necessity.’” (Simran Hans), Read our review: Rocks follows a London girl growing up fast and letting go slowly, + “We gave them too much power”: how Rocks became a gem by giving its young cast license to shine. The 77th Golden Globe Awards was presented on January 5, 2020. When the characters are out, partying on the street, the camera is right there with them, a joyful participant, fluid and tactile, the music perfectly complementing the images. Where the film does chime magnificently is in the performance of Delroy Lindo as Paul, and the suggestion that past failings undermine present-day relationships. (Kieron Corless), Where to see it: Not currently available in the UK, but available to stream on Vimeo-on-Demand in some territories. Here are the 100 best British films of all time. Marriage Story and Once Upon a Time in Hollywood, both British-American co-productions, unanimously won the Best Supporting Actress and Actor awards respectively. All rights reserved. Also, because of a lot of the issues that are brought up in the show, I thought, ‘He’s gonna get this.’ We first met in the 80s. ‘For me, as a younger filmmaker, that’s one of the things I can’t compromise on now,’ she says. A broken health service, a dereliction of duty of care, a desperation for a connection of any kind, an unseen malevolent force playing tricks with the mind. To take you on that journey where it gets to a point where it transcends, even beyond the people in the room. We said: “Marcello’s adaptation is an exercise in streamlining and condensation. It was Black people seeing other Black people, feeling what they were feeling, and a Black director, a Black cinematographer, and the fact they could see each other and vibe off each other – and be each other, as you rightly said – that’s what happened. It does not feature short films or television films. Alongside McDormand and David Strathairn are a host of non-professionals, including Bob Wells, a guru of contemporary American nomadism. The opening salvo, featuring archive footage from America and Vietnam from the late 60s and 70s, including speeches by Muhammad Ali, Kwame Ture and Angela Davis, feels like it could be for a Black Lives Matter rally. We said: “Adding an entirely unexpected new register to the filmography of an already dazzlingly eclectic filmmaker, Larraín’s Ema is about as lovable as a genius-level sudoku puzzle, but in it, the cinema of what-the-hell-did-I-justwatch uncategorisability has a new title for its pantheon. Gerwig’s decision to rework the structure of the novel, bouncing back and forth in time from the girls being engaged together in the innocent pursuits of childhood to facing the realities of adult life separately – Jo as a writer in New York, Meg married with children, Amy on a claustrophobic European tour, Beth facing her own devastating fate – proves a masterstroke. The following list comprises films not produced by Great Britain or the United Kingdom but is strongly associated with British culture. By closing with a Martin Luther King Jr speech and an end-credit intertitle about his assassination, Lee – with mixed success – positions the civil rights leader as present-day America’s father, whose assassination is the country’s Rosebud.” (Kaleem Aftab), Read our review: Da 5 Bloods: Spike Lee brings the Vietnam War home, + “Why fight for a country when they lynch you?” Spike Lee on Da 5 Bloods and American lies. List of the latest British movies in 2021 and the best British movies of 2020 & the 2010's. (Kieron Corless), Read our review: The Woman Who Ran turns circles telling stories, Where to see it: On Mubi from 20 December, along with two earlier Hong Sangsoo films – Tale of Cinema (2005) and Nobody’s Daughter Haewon (2013), Kleber Mendonça Filho & Juliano Dornelles, Brazil. As in his earlier experiments in hybrid storytelling, short clips interspersed throughout serve as lyrical counterpoints to the narrative. We said: “WolfWalkers follows the Irish director Tomm Moore’s hand-drawn cartoon films The Secret of Kells (2009) and Song of the Sea (2014). (Nobel Prize-winning physicist Kip Thorne, Nolan’s consultant on Interstellar, shows up again here in the credits.) Instead, she deftly – and devastatingly lays bare the fears that come with being made to feel like a voiceless, helpless, insignificant woman in an aggressively male environment. As Dick begins to show signs of confusion, her lament is disarming in its straightforwardness: “He won’t be able to follow what I’m saying, so I won’t be able to ask him for any more advice, and the whole time will just be trying to get by.” In the face of this encroaching loss, what is the value of this patricidal tableaux? The camera is right in there, too, in the painful scenes of the raids, and in the central protest sequence – after which the film narrows down from a community portrait to the courtroom drama of Frank and his associates’ trial. What’s really impressive too is its use of a prelapsarian mood to portray an America built on racial and social diversity.” (Nick James), Read our review: First Cow: Kelly Reichardt’s milk-rustling western rises like a treat, Where to see it: Yet to be released in the UK. Following the Venice premiere of Stray Dogs in 2013, Tsai had vaguely announced his retirement, citing exhaustion with the production model of feature films. Gerwig focuses on the novel’s key coming-of-age themes rather than individual moments: the loss of childhood, the importance of forging one’s own path, tentative steps towards female emancipation. But myth it is. Menu. Look beyond your limited worldview, Limbo says, and see the bigger, more complicated picture.” (Rebecca Harrison), Read our review: Limbo gives a Scottish welcome to four far-flung refugees, Where to see it: In cinemas and on Mubi in 2021. Ever the unflinching and somewhat dour realist, Eastwood presents us with an American landscape that has largely been denuded of the picturesque. We said: “Babyteeth is a tough one to categorise and the better for it. What is left is a cautionary tale about the corrupting power of wealth and success. Our annual poll of the year’s top movies – at cinemas, festivals or online – as chosen by over 100 of our contributors from around the world. The story is at least partially set in the United Kingdom. From the outset, this manages to inhabit both a Ken Loach-type drab urban space and an insidious netherworld. The 20 Best British Films of The 2000s Posted on November 10, 2014 November 10, 2014 by George Cromack As the new millennium dawned, British Cinema was still benefitting from the ‘cool Britannia’ mood perpetuated by the various Curtis-like romantic comedies popularised in the latter half of the previous decade. We said: “The film reminds us, at a moment when empathy often feels in short supply, that the real boats crossing the North Sea are carrying real people. We undergo at a stranger’s remove a version of her efforts at mental preparation for the inevitable. Hittman’s previous films, It Felt like Love (2013) and Beach Rats (2017), were both coming-of-age stories. Paul Walter Hauser portrays the security guard who discovered the Atlanta Olympics bomb only to find himself accused of planting it, in Eastwood’s all-American tale of apostasy. A down-on-her-luck New York playwright, desperate for a breakthrough before she turns 40, reinvents herself as rapper RadhaMUSprime. ” (Alex Ramon), Read our review: Mangrove relays Black British struggles of the past, + Mangrove gives voice to Black British Power, + “These are the untold stories that make up our nation”: Steve McQueen on Small Axe, Where to see it: On BBC iPlayer and Amazon Prime. Tomm Moore & Ross Stewart, Ireland/France/Luxembourg. We said: Leonie Cooper talked to Byrne for our December issue, and asked him why he went to Spike Lee for the project: “We’ve never really worked together, but we’ve crossed paths a lot so it was easy, I had his phone number! The storyline is textbook 1950s B movie, but the film’s innovative sound design and tracking shots, along with the director’s dynamite blend of anxiety and awe, take it far beyond pastiche.” (Isabel Stevens). I’d never experienced that before. It was a spiritual experience. Print. We said: “Gerwig presents a faithful adaptation of Alcott’s traditional tale, while also taking care to highlight its progressive views. As Fox and her sons persevere through limbo narrating their lives to Rob in the home videos, visiting courts, receiving reverse-charge calls, and going about their jobs in Bradley’s footage – we also see them grow and change. July sets aside her usual kooky style with this piquant story of the Dynes, a breadline grifter family. We said: “Nanau refuses to regard the uncovering of wrongdoing as an achievement in itself; he constructs his film from interwoven strands which offer a broader perspective on the administrative toil involved in effecting lasting change, and the crucial contributions of both individual moral choices and wider democratic movements in enabling such a process.” (Trevor Johnston, S&S, December), Read our review: Collective takes a scalpel to the contagion of corruption, + interview: “Incompetence was killing the victims”: Alexander Nanau on his health-service exposé Collective, Where to see it: On various digital platforms. Moore and Stewart’s playful and stirring animation conjures an interregnum Ireland of 1650, caught between pagan spirits and the boot of English invaders. The 92nd Academy Awards honoring the best films of 2019 were held on February 9, 2020. Best Films of 2019-2020. Fincher’s portrait of writer Herman J. Mankiewicz. As ever with Hong, and even in the context of one of his more direct and readable works, a pleasurable elusiveness pervades matters. ” (Giovanni Marchini Camia), Where to see it: Lockdown postponed its planned November UK release to 2021. “The biggest influence is Cronenberg Sr’s eXistenz (1999), which is similarly concerned with assassins who risk losing themselves in the personae that they adopt as their gaming ‘skins’ – and that film’s lead actress Jennifer Jason Leigh is here cast as Tasya’s handler Girder, a once skilled Possessor now determined to pass down the mantle to the next generation.” (Anton Bitel), Read our review: Possessor sends Andrea Riseborough out of her mind. Reflection of America ’ s imminent death with multiple wins in cinematography, sound, special effects, production! Commanding blend of the capital of in-flight entertainment on longhaul flights and can... 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