Tag: cinema

"The opening of The Oxford Cinema & Café marks a new chapter in Oxford’s cinema scene: a move further towards independent cinema."

Barry Lyndon has always been dismissed within Kubrick’s filmography. While he is a filmmaker known for his versatility across genres, Barry Lyndon still sits...

Whilst mainstream cinema more often favours the safe and the familiar, some of the most remarkable films ever made are those that dismantle the...

Burton’s famous gift for mixing the dark and eerie with the fun and satirical shines through once again.

Christopher Nolan's Oppenheimer had its very first screenings in Japanese cinemas on the 29th of March 2024 – eight months after it was released...

"I don’t think I’ve ever felt so ‘in the moment’ while watching a film as I did with Perfect Days"

"There are few films that are able to generate as much buzz among Oxford students as Saltburn (2023), a sophomore project directed by Greyfriars alumna Emerald Fennell."

It’s hard to know exactly when the concept of the action-cum-superhero movie started spinning out of control. I’m not sure if I’d place it...

"After 99 years of business, the Odeon Cinema on Magdalen Street will be closing its doors for good. At its peak, the cinema was one of Oxford’s most popular entertainment venues, but the rise of streaming platforms, the effects of the pandemic, and the opening of other cinemas have contributed to its decline over the past several years."

"His films are not as stunning, nor impressive, as might be those of his Nouvelle Vague contemporaries, but peacefully pleasant."

Don’t worry, this isn’t one of those articles about how superhero blockbusters are awful compared to classic movies. No, I’m here to explore the weird commonality between Ingmar Bergman’s The Magic Flute and modern blockbusters. Linking these different approaches to film will be a strange journey, but at its end lies an intriguing idea: that reality and fiction may be one and the same.

CW: Mentions of suicide In a previous Cherwell column, I wrote that cinematographers manipulate an audiences’ viewpoint. If that is the case, then editors are...

No Time to Die has emerged from all of its production chaos triumphant, dusting itself off and adjusting its shirt cuffs with all the effortless sophistication of its protagonist.

As the camera decides how the audience is to feel about certain events and characters, it is certainly not a neutral agent.