Review: Love and Friendship – both modernised and faithful
Stillman’s adaptation successfully captures Austin and puts others to shame, writes Zach Leather
I, Daniel Blake: a working class triumph
Jem Bartholomew hopes Ken Loach’s Palme d’Or win can revolutionise our national welfare debate
Review: Everybody Wants Some!! – antiquated male stereotypes
Zach Leather considers Linklater’s latest nostalgia-soaked '80s escapade, finding it dominated by one-dimensional men in fear of emasculations
Review: OBA Film Festival showcase
James Riding casts an eye over the most ambitious films in Oxford student filmmaking at the OBA’s annual screening
Review: Florence Foster Jenkins
Thomas Player was left feeling warm inside, despite the ear splitting singing
The Age of Photoshop?
Daniel Curtis laments the decline of the quality film poster, but sees many reasons to be optimistic for the future
Linking Linklater’s Latest
Jake Kennedy identifies time as the common thread in Richard Linklater’s work
Representing The Impossible
Cinema will never be able to represent the horrors of the Holocaust, but Son of Saul offers a sensitive try, writes Jem Bartholomew
Review: the OBA Easter Projects
Louise Howland dissects Sunday’s OBA student film screening, praising their indie feminist zeal
Review: Eye In The Sky – a warning about the costs of war
Apart from the climax, Rickman’s final film doesn’t have much ‘thrill’ for a thriller, writes Alistair Badenoch
The Making of Bench: contribution and collaboration
The cast and crew of Bench reflect on the collaborative process of film-making, women behind and in-front of the camera, and cinema's power over how we perceive mental health disorders
Review: Hush – a cat and mouse fight to the death
Hush negotiates the established conventions of the home-invasion horror concerning female victimhood, writes Louise Howland
