Mustang (2015)
★★★☆☆
A stirring portrait of female freedom denied, Deniz Gamze Ergüven’s Mustang is a deeply personal story with a profound political resonance.
dogandwolf
I, Daniel Blake (2016)
★★★★★
Moving, tragic and brutally direct, Ken Loach’s I, Daniel Blake is a scathing portrait of Britain’s benefits system.
Sieranevada (2016)
★★★★☆
Rester Vertical (2016)
★★★★☆
As a scriptwriter turns shepherd, Alain Guiraudie’s Staying Vertical reveals an existence of fear and lusting in the Midi-Pyrénées.
Cafe Society
Cafe Society is Woody Allen on good form in a stylish love letter to 1930s Hollywood and New York.
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I Saw The Light (2016)
★★★☆☆
Despite a beautiful performance from Tom Hiddleston as Hank Williams, Marc Abraham’s I Saw The Light can’t quite lift the country music icon out of the dark.
Florence Foster Jenkins (2016)
★★★☆☆
A Hollywood companion piece to Marguerite, Stephen Frears’ Florence Foster Jenkins finds a heart of gold beneath the tarnished voice.
Son Of Saul (2015)
★★★★☆
Depicting the grim realities of life at the frontline of an extermination camp, Son of Saul is an extraordinary debut from director László Nemes.
Dheepan (2015)
★★★★☆
With an extraordinary central performance, Jacques Audiard’s Dheepan offers a searing portrait of Europe as seen by the dispossessed.
Black Mountain Poets (2015)
★★★☆☆
Comically skewering creative pretensions, Jamie Adams’ Welsh romp Black Mountain Poets is sharply observed and very funny.
Eddie The Eagle (2016)
★★★★☆
A gentle portrait of the British ski jumper determined to win, Dexter Fletcher’s Eddie The Eagle is a funny, feel-good and well-made British film.
Iona (2015)
★★★☆☆
Charting the undercurrents of a remote island, Scott Graham’s tale of return Iona is a dazzling portrait of the wilds of the Scottish isle.
Marguerite (2015)
★★★★☆
A delicious update of the Emperor’s new clothes parable, Xavier Giannoli’s Marguerite exposes the well-meaning flattery of the have-nots.
High-Rise (2015)
★★★☆☆
A visually brilliant adaptation of JG Ballard’s satire, Ben Wheatley and Amy Jump’s High-Rise seems strangely dated with its Seventies’ dystopian future.