Reflection In A Dead Diamond (2025)

What I appreciate about Helene Cattet and Bruno Forzani (Let The Corpses Tan, The Strange Colour Of Your Body’s Tears) as filmmakers is that they are fetishists. Drawing upon memories of genre cinema – a gesture, a moment, a flourish – and not simply re-creating them, but deconstructing and exploding them. With Reflection in a […]

Eileen (2023)

Eileen (2023) is a character study. It’s also about stretching out the tension. The question keeps occurring: where is all this going? It’s the mid-1960s, it’s wintery and grey Massachusetts. Eileen works as a secretary in a prison. She looks after an alcoholic ex-cop father. She has daydreams about sex, or about killing her father. As […]

Here (2023)

Two characters walk through a Belgian forest on the outskirts of the city. A shot follows one of the characters as they move, and the sound design emphasises the ambience of nature. The leaves rustling, the wind, and cracking trees. We don’t hear the human footsteps as they trudge, and as we see between bushes, […]

Funny Pages (2022)

Growing up in 1980s and 1990s pop culture, one myth was the idea that if you were a geek or a nerd, or if you had niche interests about arts, movies, comic-books, that made you more special and creative than the mainstream. I can’t point to any one text, but just the idea that if […]

The Eternal Daughter (2022)

The Eternal Daughter (2022) is not a horror movie, but a ghost story. It’s useful to make that distinction since it’s about eeriness and suggestion, using ghosts as a way of dealing with memory, uncertainty and unresolvable emotions. Joanna Hogg (Unrelated) reunites with Tilda Swinton (after her first short film, Caprice, and The Souvenir Part […]