Tuesday, May 21, 2019
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Review: At Eternity’s Gate

It is worth watching At Eternity’s Gate for Julian Schnabel’s mesmerising cinematography alone. This new biopic of Vincent van Gogh, with the titular character...

Behind Closed Drawbridges

Why are we so fascinated by stories of royalty?

Inheriting ‘The Big Score’

Examining the appeal of the classic heist film

The Entangled Affair between Britain and the Catholic Church

Modern media has reinvented Catholicism as access to an intoxicating blend of nostalgia and taboo

The End of an Era: Endgame

Arguably the biggest film franchise in the world draws to a conclusion that's been over a decade in the making

The Duality of Movement in the New Taiwanese Cinema Movement

The entry of Hong Kong cinema to the Taiwanese market in the 1980s brought with it a move to protect homegrown directors and maintain...
The face of a woman.

On the Basis of Sex: battling through a man’s world

Ruth Bader Ginsberg biopic shows how Felicity Jones and feminism can bring a legal drama to life
Four Oxford students. Two in the foreground and two in the background. Surrounded by filmmaking equipment including a microphone and a camera. They are in a small residential street with neutral toned houses.

Student film: ‘notoriously difficult to penetrate’

Oxford’s student filmmakers give their takes on writing workshops, directorial debuts, and getting inside one of the arts’ most difficult industries.
A close-up of a blue eye looking panicked.

Placing society’s margins under the microscope

The psychological and physical decay resulting from drug addiction is tactfully explored in Darren Aronofsky’s masterpiece.
A middle-aged man and a teenage boy smile into the camera. The man has his arm around the boy.

Beautiful Boy review: powerful, painful, poignant

Beautiful Boy is unlikely to have an unintentional glamorising effect. We witness the oblivion of being high before the inevitable crash down to a deeper and darker place.
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