• In Fabric

    June 21, 2019 - By 

    A haunted dress is the kind of premise that even Stephen King at the height of his cocaine period would struggle to make more than a short story out of, and a very silly one at that. But with In Fabric, Peter Strickland (The Duke of Burgundy, Berberian Sound Studio) uses the conceit to create a deeply sensual and deranged experience that wraps itself around your brain and refuses to let go. As played by Marianne Jean-Baptiste, Shelia is a reserved and harried woman who yearns for some passion after separating from her husband. The day before a date, she’s convinced to buy…

  • Gloria Bell

    June 7, 2019 - By 

    Gloria Bell is something of a gear change for Sebastián Lelio after his Oscar-winning A Fantastic Woman. That film was a sobering deep dive into transphobia that drew fire from trans critics for dog piling woes upon a trans woman with little substance to back it up. Gloria Bell, an American remake of Lelio’s own 2013 film Gloria, is a much more nuanced and life affirming proposition The film’s opening act is a master class in patient character building. We follow Gloria, a fifty something year-old divorcee, as she sings love songs in the car, checks in on her distant…

  • The Man Who Felt No Pain

    March 7, 2019 - By 

    As high-concept premises go, The Man Who Feels No Pain (Mard Ko Dard Nahin Hota) has an absolute humdinger. It’s an Indian martial arts film about Surya, a man with a rare disorder that prevents him from registering pain. With an irreverent tone and a theme song featuring the lyric “Break it! Shatter it! I am the man who feels no pain!” this should be martial arts movie for the ages. So why is it such a chore to watch? Well, the pacing for one thing. The Man Who Feels No Pain is a turgid 134 minutes long, inconceivable considering the…

  • DIFF19: Rafiki

    March 5, 2019 - By 

    When you think of films set in the African continent, what subject matter comes to mind? Poverty? AIDS? Child soldiers? That isn’t to be disingenuous. Of course African countries face dire problems that need more attention. But how often do we see films that reflect the stunning culture and spirit that they have to offer? After all, that’s what made last year’s Black Panther so revelatory. To that end, the last few years have seen the emergence of an African art collective called AFROBUBBLEGUM (the capitalization is mandatory). Comprised of filmmakers, clothes designers, graphic designers, its mission is to create…

  • DIFF19: Ray & Liz

    March 5, 2019 - By 

    Writer/director Richard Billingham has said that Ray & Liz reflects his memories of his childhood, rather than the reality. After watching this blisteringly bleak film, I can’t tell if that’s cause for relief or great concern. The film serves as an adaptation of ‘Ray’s a Laugh’, a collection of portraits featuring Billingham’s alcoholic father. In the present day, Ray lies in his high-rise tenement flat in Birmingham, drinking homebrew made by his friend Sid. Ray’s welfare does just enough to cover his addiction and since Sid picks up his dole, he scarcely needs to move – except to pour booze…

  • “A Bit of A Weird Piece To Do”: Q&A With Brendan Gleeson

    March 1, 2019 - By 

    Brendan Gleeson is one of Ireland’s most acclaimed actors, having starred in films as varied as In Bruges, 28 Days Later, and Paddington 2. Now he’s trying his hand at directing with a short film called Psychic. The film follows the titular psychic, played by Gleeson, whose conniving sons bring him out of retirement to make a quick buck. It’s a family affair, co-starring his sons Domhnall and Brian, and written by their brother Rory. Following Psychic’s premiere in the Dublin International Film Festival, Jack O’Higgins spoke to Gleeson about his directorial debut, his recent collaboration with the Coen Brothers,…

  • DIFF19: Dear Son

    March 1, 2019 - By 

    For western society, ISIS is often depicted as a bogeyman hiding in the shadows, waiting to strike. Rarely do we have to contend with the possibility that our children could be seduced by its poisonous ideology. That is the ordeal faced by Liadh, a middle class Tunisian father in Mohammed Ben Attia’s Dear Son. Sadly the film is crippled by a myopia that prevents it from fully exploring its striking premise. The film’s solid first act at least takes the time to establish its protagonist. Played by the endearing Mohammed Dhrif, Liadh is your quintessential doddery dad. He fumbles for…