The Escape.

The Escape.

On the surface, Tara seems to have everything any mother and wife could ever want; two young children, an attentive husband, a beautiful house, two cars and financial security. With her husband earning enough money to support them both, Tara’s days are spent getting the children to and from the local primary school, tending to … Continue reading

Apostasy.

Apostasy.

Stern, tight-lipped mother and devoted Jehovah’s Witness Ivanna is raising her two teenage daughters within the strict, secular religion to which she has committed her life. Each daughter carries with them weighty doubts and when one sister falls away from the faith, Ivanna is faced with pressure to minimise contact with her in order to … Continue reading

How to Talk to Girls at Parties.

How to Talk to Girls at Parties.

Based on the Neil Gaiman’s graphic short, How to Talk to Girls at Parties has been adapted to the screen by American indie and underground favourite, John Cameron Mitchell. Probably best known for his stunning and surreal debut feature, Hedwig and the Angry Inch, Mitchell seems out of place to direct a film based around a group of teenage … Continue reading

Funny Cow.

Funny Cow.

Beware. For Funny Cow is not the film you might be expecting it to be. It’s pitched itself as the story of a female comedian trying to make it on the comedy circuit in 1970s Northern England but proves far more interested in the turbulent childhood and marriage that proceeded it. Maxine Peake is Funny Cow, the otherwise … Continue reading

You Were Never Really Here.

You Were Never Really Here.

United once again with astounding composer Jonny Greenwood (of Radiohead), director Lynne Ramsay returns with You Were Never Really Here, a murky tale of regret, revenge and redemption. Despite being temporarily attached to several projects, this is Ramsay’s first time in the director’s chair in six years, following up her astonishing adaptation of Lionel Shriver’s novel We … Continue reading

Dark River.

Dark River.

When I reviewed her directorial debut, The Arbor, I declared that Clio Barnard was a British director to keep your eye on. Back in 2013 her follow up The Selfish Giant further demonstrated her ambition, capability and versatility. Barnard’s third feature is a rural British drama centred around unspoken memories of trauma which continues to prove all of the … Continue reading

Daphne.

Daphne.

An isolated young woman who fills the lonely hours with vodka and strangers, Daphne is a very difficult protagonist to like. She dodges her mother’s calls and has evident chemistry with her married boss. She short changes the take away delivery guy and verbally abuses the security men who remove her from clubs when she’s … Continue reading