Locarno Film Festival — A–Z of films

The unadorned observation of the physical aspects of the relationship in which middle-aged bodies are shown without artifice is one of the most hypnotic aspect of Naveriani’s vision.

There's ambition here that suggests this is the fragment of a feature that Nakhane has in mind.

If it wasn’t for the excellent, immersive sound design from Chu-Li Shewring, you could easily believe you were watching a piece of silent movie found footage.

This is a film that takes no prisoners. It will live long in the memory.

We get to witness the birth of a new genre and are confronted with a violent American history that Hollywood fictions have previously not dared to tackle.

By withholding information from us, Bareisa puts us in a similar headspace to the main characters.

It showcases Spielberg's gifts for light comedy, spectacle, and fairy tale celuloid sorcery.

To see it on any screen other than the biggest you can is to do yourself a disservice, and to miss it is to miss a masterpiece.

Clarke’s utilisation of eerie Irish lore and the supernatural to explore very real horror, and the lifelong lingering aftermath of a single, damning moment, is a potent and unsettling brew.

Despite its tendency to lose sight of a unifying thread, Holy Electricity picks up a musical cadence, guiding the viewer through a series of moments that shine with a disarming honesty.

Small children reciting old rhymes is surely one of the oldest tricks in the book for generating atmosphere but Ataka51 employ it with the smoothness of a tried and tested magician.

Ford is charismatic as ever as the whip-wielding hero, looking eternally hard-done-by but always up for more.

A proper little indie with a lot of heart and inspiration

Diaz has drawn partially on his relationship with his own mother and the specificity of place and time also help the tensions to feel authentic.

The script has a heartfelt carefulness but it is never preachy, with 'naughty' conversations about the home's teacher's willy exploding likely to have pre-adolescents (and adults who well remember these sorts of conversations) hooting with laughter.

Hunter delivers a riveting central performance, her silence speaking for a myriad women whose stories have been overlooked by history.

A confident and well-constructed tale that is built on the firm foundations of a great ensemble cast.

As Zürcher explores his protagonist's psyche, straining the limits of a pervasive sense of turbulence, he steers the narrative into a dream-like realm of refreshing sincerity.

The imagery is almost dream-like, feverish and intense without straying away from reality.

Like the protagonist we are swept up by a wave of questions about aviation and identity and the unbearable heaviness of memory.