Food, Femininity and First Time Filmmaking: An Interview with Lucy Brydon, Director of ‘Body of Water’

Lucy Brydon talks to Flip Screen about her debut feature ‘Body of Water’, the experience of premiering it at GFF, and being a first time filmmaker.

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GFF REVIEW: ‘Vivarium’ Puts The Mundane Brutality of Life’s Milestones Under The Most Surreal Microscope

Sure to be memorable for its striking visual storytelling and compelling central performances, ‘Vivarium’ should also be commended for its sheer bravery alone.

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GFF REVIEW: ‘Proxima’ Is A Moving Meditation on Motherhood and Ambition

If you look up the word ‘proximal’ in the dictionary you’ll see it defined as ‘situated close to’ or ‘nearest the point of attachment’ – but as it turns out, Alice Winocour’s ‘Proxima’ is all about letting go.

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SUNDANCE REVIEW: Who Wants to be a ‘Kajillionaire’ (2020)

“It’s about what it means to be a human coexisting with other humans, and how that could all be over in a second.” Fresh off the announcement that her breakout indie feature film Me and You and Everyone We Know (2005) will join the Criterion Collection in April 2020, as well as the launch of…

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LSFF REVIEW: ‘Up To And Including Her Limits’ Challenges Feminine Identity

As part of London Short Film Festival, the ‘Up To And Including Her Limits’ strand included six short films united by the centralisation of women and control.

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SUNDANCE REVIEW: I Dare You to Call an Uber After Watching ‘Spree’ (2020)

Kotlyarenko’s direction toes the fine line between being critical of his deeply flawed characters and showing an affectionate tenderness toward them because of those flaws.

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FESTIVAL REVIEW: Fractured Visions 2019

Last year Cardiff got a new genre festival to add to its growing collection of annual film gatherings. 2018’s Fractured Visions was a small, scrappy affair, built on a glut of great programming that rewarded audiences who love their gore and horror. Returning this year in 2019, the festival takes a step up in ambition,…

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CINECITY REVIEW: ‘Jojo Rabbit’ (2019) is Too Comfortable to Make a Lasting Impression

You can only frame the greatest human tragedy of all time as ‘twee’ for so long before it gets tired.

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CINECITY REVIEW: ‘Waves (2019)’ Stands Alone As a Tremendous Piece of Film-making

Trey Edward Shults (It Comes at Night, Krisha) has made his name by exploring complicated family dynamics in the past, but none have been so powerful as his latest work, Waves.

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BHFF REVIEW: LGBTQ+ Horror Shorts ‘Slayed!’ Present An Exciting New Chapter for Horror

Whether we’re protectively defending our favourite misunderstood “monsters”, thirsting after a vengeful witch, or intricately dissecting the plot’s subtext to match our queer theories; it’s a genre we’ve passionately invested in despite our community’s seeming absence from its stories.

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