Cambridge Film Festival — A–Z of films

Ponderings on the effects of war become distinctly ponderous.

If this is a true representation of what Russian reform schools can achieve, it is remarkable.

Feels like one long trawl through the photo album of somebody else's holiday.

Couture by Yves Saint Laurent and lush photography drown us in luxurious chic.

Despite the fact that no supernatural events actually occur, there’s an all-pervading air of evil, insanity and downright perversion.

If Belle De Jour was an examination of 'feminine mystique', this film is an examination of male obsession with it.

Fearlessly reaches outside the box.

For the first hour, I was spellbound by its audacity, the thumbing at convention, and never knowing where it was going next.

A jewel unpolished is still a jewel, and there are treasures here for those patient enough to seek them out.

While it is big on atmosphere and features crafty camerawork it is running on empty when it comes to plot.

Never quite hits the mark.

One rarely sees a film this well crafted.

It’s a frenetic ride, but one that builds to a sombre climax.

This film is adapted from a stage play by Eugene O'Brien and has made the transition to screen very smoothly.

What he’s talking about and looking for is oddity masquerading as normality.

This is director Vito Rocco’s feature film debut and he passes with flying colours.

Fear(s) of the Dark is a collection of great animations, but while each of its chapters are great, the overall film doesn't gel brilliantly.

Once the walls start to move, there's barely a moment to catch your breath as sharp editing, clever camera angles and good use of sound, squeeze the tension of every moment.

In its style, its performances and its confident direction, this film is a triumph.

Despite dealing with some very heavy issues Palka has a surprisingly light touch, levening the more bleak moments with some rich, dark comedy.

The central drama has lots of interesting potential but never quite develops as effectively as it might.

A moving, entertaining and inspiring documentary that really is about what happiness can be, punk or no punk.

This is a cultural war, a war for Iraq's future, and what AcrassicaudA do with their music has far more profound implications.

This is a film which knows exactly what it is and what it wants to achieve and, as a result, never pretends to be something it’s not.

There is no denying the movie’s structural intensity, its social relevance, or the fact that it is hypnotic viewing.

You feel your will to live give a whimper, make its excuses and start heading for the bar.

It is good to see Kristin Scott Thomas, often underused, in a role which makes real demands on her talents.

Seidl seems interested in these people precisely because they’re all too easily judged by others, even though their needs and desires are relatably ordinary.

Swinton is mesmerising as a messed-up drunk.

Beautifully shot and well acted.

While the film isn’t a complete success it’s still a powerful, heartfelt take on the cruelties of which people can be capable – and the courage and nobility they can display in their determination to find out the truth.

There are some amazing performances here.

Technically impressive, indeed ground-breaking.

It is frequently not what you see but what you hear which holds the horror.

Although Whale is working with clichés, many of them were only established in literary form in 1932, and are presented on film here for the first time in forms that continue to be imitated to this day.

Pageant is a little more mainstream than might have been hoped, but it's still an entertaining portrait of some wonderfully larger than life characters, a mind blowing amount of effort and an incredible desire to win.

Some sections of the film feel like a soapbox for her to stand on, to proselytize her personal politics; to bolster her image as a radical poet.

Both leads are certainly in fine form, with Karloff's more understated approach generating the necessary element of sympathy for his tragic character.

Rivals takes a refreshingly ‘un-Hollywood’ approach to the police drama, which is all the more potent for its refusal to sacrifice plot on the altar of action.

Always engrossing, at times decidedly uncomfortable viewing, Savage Grace is accomplished cinematic storytelling that will stay with you long after the credits have rolled.

The farmers are not in good condition. They look tired and their equipment looks exhausted.

More raging dull than raging bull.

Richards' film may be an ultra-low budget affair, but it is also a punchy thriller.

The film is funny, heart rending, brutally honest and extremely well made.

An object lesson in less is more, it makes an absolute virtue of its small cast and diminutive budget.

The message is clear and the message is strong: How To Build A Fascist Movement works.

If you’re interested in the rise of New British Country music then this is a doc for you.

What makes the episodic, almost piecemeal direction so effective is the way in which Jarman alternates between the individual and the universal impact of war.