• Wind River

    September 8, 2017 - By 

    Taylor Sheridan’s America is an exhausted, shrinking land. Land is a recurring theme for Sheridan, the screenwriter behind two of the best neo-Westerns of recent years, Sicario (directed by Denis Villeneuve) and Hell or High Water (directed by David McKenzie), the latter earning him an Academy nomination. Who owns the land, who takes it, who protects it and — most importantly — what kind of justice is available on it. Both films used frontier geography to tell stories about endings and broken systems, and the moral compromises of righteous avengers. For Wind River, Sheridan directs too. It’s not his directing debut — he did 2011 horror…

  • Best Film Scores of 2015

    December 17, 2015 - By 

    In the first of a series looking at 2015 in film, David Turpin reveals his thoughts on his favourite film scores of the year that was. The Duke of Burgundy – Cat’s Eyes Peter Strickland’s The Duke of Burgundy was my film of the year – a peerlessly kinky erotic fantasy that was also a wise and humane commentary on the limitations of fetishism.  The score, by Cat’s Eyes (a collaboration between soprano Rachel Zeffira and The Horrors’ Faris Badwan), performed a similar trick – repurposing the gauzy sounds of 70s Eurotrash erotica for more than mere pastiche.  The haunting blankness…