NewFest — A–Z of films

There is so much to admire in All About Eve, even for those too young to be drenched in nostalgia for the spectacle of Bette Davis unleashing her sharp tongue.

As Blue Moon progresses it becomes clear that the one thing Hart really wants is to be wanted.

The performance [Sweeney] gives here, slipping easily into Christy’s skin, is going to knock some people for six.

Any number of films try to sell themselves on inviting us to ogle outsiders like these. The difference with Fucktoys is that it’s made by people who actually get it.

As well as being brain-dead, the plot is nasty.

There’s an anarchic silliness about it which suits the science fiction setting, an openness to having fun and delivering a story unselfconsciously, on its own terms.

Mamma Mia! is a roller coaster of emotion, careering colourfully from the blue waters of the Adriatic.

Remains highly watchable today.

The film is shot in gorgeous shades of noir by Luciana Baseggio, and has a deliciously dark, sultry score.

Mexican director Kani Lapuerta invites both viewers and star to change their frames of reference in a documentary as bold as it is charming.

Tina Romero is in her element.

Alice Maio Mackay’s...most accessible film to date.

Director Siobhan McCarthy is adept at using the long-established visual language of the high school movie both to entertain and to show us the world from a perspective that’s relatively new to cinema.

Sung’s own camera plays tricks, placing objects too close in the foreground so that parts of an image are out of focus, like an incomplete memory.

Through the lens of the men’s romance, Onir takes in a good deal more, exploring the complex realities behind assumptions of prejudice and the myriad factors that go into making each of us who we are.