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.’
The Salesman asks its audience a queasy question, one with no easy answers: what would you do?
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.
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.
Marc David Jacobs discusses the role and power of grief in Manchester by the Sea.
Martin Scorsese’s long-gestating adaptation of Shūsaku Endō’s 1966 novel Silence is a film about faith, arguably exclusively for people of faith.
Royal Conservatoire of Scotland BA performance students share their thoughts on the next installment of Visible Cinema: RCS Curates
‘..its origin and purpose still a total mystery.’ Dr Heywood R Floyd
There is something quietly iconoclastic about Eugène Green’s latest film Le Fils de Joseph, and the clue is quite clearly in the name.