Film – Flip Screen

Image is from 'Attack on the Block' (2011). Image is from a group of teenagers which are coverings their faces with scarves and hoods. At the front is Moses, a young black teen who scowls. His face is uncovered.

Black Boyhood Under Threat in ‘Attack the Block’ (2011)

By: elalicering 15th Jun 2021

Essay, Featured, Filmattack on the block, featureLeave a Comment

Ten years on, John Boyega’s portrayal of young black masculinity in Attack the Block still rings true.

Image is from the film Bridesmaids (2011). Three woman stand together in a parking lot. One is blonde and is wearing a black blazer, one has dark hair and is wearing a purple cardigan whilst behind them a dark blonde woman wears a white dress. They all appear to be looking at something in front of them.

[Between the Lines] The ‘Bridesmaids’ (2011) Screenplay Holds Up 10 Years Later

By: Gavin Spoors 4th Jun 20214th Jun 2021

Anniversaries, Between The Lines: Diving Into the World of Screenwriting, Columns, Featured, FilmAnnie Mumolo, BetweenTheLines, Bridesmaids, Comedy, Kristen Wiig, screenplay, womenLeave a Comment

This month Bridesmaids will be celebrating its ten year anniversary, a modern commercial and critical hit.

REVIEW: ‘Language Lessons’ (2021) is All About Resilience

By: Benjamin Akpan 29th May 202127th May 2021

Festivals, Film, Reviewslanguage lessonsLeave a Comment

Language Lessons is the first computer screen-based film that focuses on the very things that a life of constant videotelephony has taken away from us.

Image still from the sci-fi film Undergods. A wide-shot of a ruined, cold and blue-tinged apocalyptic landscape, full of burnt, crumbling buildings stretching into the sky. A lone vehicle drives through the middle of a long and empty road.

REVIEW: Chino Moya’s ‘Undergods’ (2021) is a Humorously Bleak Sci-fi Warning of a Future Already Here

By: Kevin Woodley 14th May 202112th May 2021

Featured, Film, Reviewsburn gorham, chino moya, Comedy, dystopia, film review, geza rohrig, Horror, kate dickie, ned denahy, sci-fi, undergodsLeave a Comment

Undergods firmly wants you to feel every inch of its bizarre horror landscape of a future that might not only be around the corner but is already here.

Image is from the film 'The Gleaners and I' (2000). The image shows an ornamental clock with no hands. In front of the clock sit a pair of ceramic cats, and behind the clock is the reflection of the film's director - Agnès Varda.

Top of the Docs #50 – The Gleaners and I (2000)

By: Joel Whitaker 13th May 202112th May 2021

Columns, Film, Top of the Docsthe gleaners and iLeave a Comment

The Gleaners and I is a film not just revolutionary for its ground-breaking use of handheld digital cameras, but also for the way in which Varda set about making the film.

Image is from the film 'Melancholia' (2011). In front of a pink, cloudy sky that is lined with trees, a young woman holds her hands up. Lightning is erupting from her fingertips.

‘Melancholia’ (2011) and How I Learned to Stop Worrying and Love the Planet

By: Jennifer Lee Maxwell 4th May 20212nd May 2021

Essay, Featured, Film, Mental Health, PersonalCharlotte Gainsbourg, Dr. Strangelove, Essay, Film, Film Essay, Kirsten Dunst, Lars Von Trier, Melancholia, Stanley Kubrick1 Comment

How Lars Von Trier portrays mental illness as a superpower in Melancholia.

Image is from the film 'Here Are the Young Men' (2021). Three young men sit on the top of a concrete wall, whilst a young woman stands next to them leaning her back against a blue wall. Behind them a brick wall is painted grey and blue, with "mest" written behind them in bold white and black graffiti lettering.

REVIEW: ‘Here Are the Young Men’ (2021) Is A Vibrant Exploration of Youth Violence and Addiction

By: nabeel zaman 3rd May 20212nd May 2021

Film, Reviewshere are the young menLeave a Comment

Here Are the Young Men depicts the downfall of three teenage boys who find themselves immersed in a world full of drugs and alcoholism.

Image is from the film 'Always Shine' (2016). The film still shows Anna, now performing as Beth, in the middle of the frame. She’s looking right into the camera with her head tilted to one side, almost like she knows viewers are watching her performance. She’s biting on her thumb, reminiscent of an innocent child as she’s trying to mimic the body language of Beth. She looks nervous and timid. Anna is wearing Beth’s button-up romper suit with a flower pattern, with a light brown belt in the waist. In the background is a long desk visible – filled with miscellaneous objects including a globe and a cowboy hat all in a row – along with a big window showing the green nature of Big Sur.

Five Years Later: Sophia Takal’s ‘Always Shine’ (2016) and the Horror of Being Trapped in Performance

While film history contains many portrayals of backstabbing women on the verge of a breakdown, Always Shine offers the idea that the terrifying thing isn’t women themselves but rather the limiting roles society provides for them (along with the disastrous results they lead to).

Image is from the film 'Apples' (2020). A middle aged man is posed on a bmx bike in a skate park.

REVIEW: ‘Apples’ (2020) a Wonderfully Absurdist Take on Human Existence

By: Megan Shea 1st May 202130th Apr 2021

Film, Reviewsapples, oscarsLeave a Comment

While it was ultimately not nominated for the 93rd Academy Awards, Apples is a film that’ll linger in your memory, even long after you’ve forgotten its name.

Image from the film 'Nomadland' (2020). A woman with short hair wearing a blue t-shirt stands in front of a snow covered, mountainous landscape.

The Ethics of Filming Poverty: Who Has a Right to Tell ‘Nomadland’ (2020)?

By: RaeAnn Quick 25th Apr 202125th Apr 2021

Featured, Film, Opinionchloe zhao, nomadland, oscarsLeave a Comment

It is phenomenal that these stories are being told. However, what does it mean if they only tell a partial story, with little condemnation of the system that maintains it?