With a story revolving around the intricacies of the long con, it seems appropriate that few films readily evade precise classification in the way that The Handmaiden does.
‘In a sense all film is entering into someone else's dreams. Maybe we can even share the same dreams, exchange the same experiences.’
I Am Not Your Negro (Dir. Raoul Peck, 2016) is a story about identity. Identity in a place that spits in your face, stamps on your neck, and shoots your children dead.
The Salesman asks its audience a queasy question, one with no easy answers: what would you do?
GFT in April: Director’s Cut of The Handmaiden; new releases Free Fire, Neruda, and I Am Not Your Negro; plus CineMasters: David Lynch
GFT brings a number of exciting new releases to its cinema screens in April, including the Director's Cut of The Handmaiden.
Introduced as a year-round strand of GFT programming in March, with seasons of work from Kelly Reichardt and Martin Scorsese, April continues with CineMasters: David Lynch.
Elle is one of the year's most provocative and challenging films. Sean Welsh provides some context, with perspectives on the film from cast, crew and critics.
Scotland’s oldest independent cinema was honoured with the award on Tuesday 21 February
GFT welcome back GFF Closing Gala Mad to Be Normal with exclusibe UK Preview screenings, alongside new releases Certain Women, Elle, Personal Shopper and more.
Identity is a crucial aspect of Barry Jenkins' adaptation of Tarell Alvin McCraney's unproduced play 'In Moonlight Black Boys Look Blue'.
'For her third feature, Ade has returned to her family for inspiration and particularly her music teacher father.'
One of the defining images of the 1960’s was of Jackie Kennedy wearing a pink Chanel suit stained with her husband’s blood.