Ma’ Rosa – Cannes 2016 Review Nick Evan-Cook May 19, 2016 Reviews Filipino auteur Brillante Mendoza’s gritty and authentic formal approach on Ma’ Rosa gives us a flavourful and palpable sense of place and community – though the same can’t be said of his characters,...
Inversion (Varoonegi) – Cannes 2016 Review Nick Evan-Cook May 19, 2016 Reviews There's something rather uncinematic about a phone call. They can be used in interesting and dynamic ways, but when much of a film consists of the lead character answering (and sometimes ignoring) her...
The Unknown Girl (La Fille Inconnue) – Cannes 2016 Review Nick Evan-Cook May 19, 2016 Reviews The Dardenne brothers’ take on a detective story is highly introverted and moves with a quiet confidence befitting of its heroine – however it lets itself down with an underwhelming resolution and the...
After the Storm – Cannes 2016 Review Nick Evan-Cook May 18, 2016 Reviews Japanese auteur Hirokazu Koreeda strikes gold yet again with this superlative and poetic portrait of another fractured family unit. Nobody paints for us the highs and lows of familial interaction quite...
Julieta – Cannes 2016 Review Nick Evan-Cook May 17, 2016 Reviews About as Almodóvarian as it gets, this adaptation of a trio of Alice Munro stories brings every facet of the Spanish auteur's unmistakeable heightened and melodramatic style. The formula that constitutes...
Apprentice – Cannes 2016 Review Nick Evan-Cook May 16, 2016 Reviews Sparse and morbid, Apprentice is not the easiest watch, but the questions it raises about morality and mortality make it a gut-wrenching polemic about capital punishment. While the script is a little...
Hell Or High Water – Cannes 2016 Review Nick Evan-Cook May 16, 2016 Reviews Despite the high watermark set by Starred Up, David Mackenzie betters himself once again with the immensely gratifying western Hell or High Water, a genre hybrid with a rich streak of melancholy but no...
The Transfiguration – Cannes 2016 Review Nick Evan-Cook May 15, 2016 Reviews This first-time feature from writer-director Michael O'Shea is both self- and genre-aware - though repeatedly acknowledging its superior forebears in the vampire genre does not equate to doing anything...
American Honey – Cannes 2016 Review Nick Evan-Cook May 15, 2016 Reviews Andrea Arnold once again confirms herself as one of - if not the - best British filmmakers working today with her sprawling odyssey of the disenfranchised, American Honey. Formally not so much a...
Your Week In Film: Cannes, Corpses, Creed, Controversy Eddie Falvey May 13, 2016 News 1. Cannes kicks off with a Woody Allen rape joke The world’s classiest film festival is now underway. Just about anyone you’ve ever heard of is currently lapping up the sun on the French Riviera. The...
Top 10 Most Exciting Cannes Competition Films 2016 Calum Baker May 11, 2016 Analysis, Features, Top 10 Regular ORWAV readers will know how much we love the Cannes Film Festival. We're even returning this year, to cover even more exciting ground than 2015 - and 2015 was pretty exciting. Dheepan won the Palme...
Your Week In Film: Cannes, Croft, Covenant, and more news… Stephen O'Nion April 29, 2016 News 1. Cannes Festival names its jury The 2016 Cannes Film Festival now has itself a jury - nine good film-type people and true - ahead of the start of proceedings on May 11. Joining George Miller, who’ll be...
Louder Than Bombs – Review Calum Baker April 24, 2016 Reviews As with his previous film, Oslo, August 31st, Joachim Trier's finest directing moments in Louder Than Bombs come with voiceovers and memories, plus one excellent extended party sequence. For his English...
Chronic – Review Phil W. Bayles February 27, 2016 Reviews Winner of the Best Screenplay Award at last year’s Cannes Festival, Chronic makes Michael Haneke’s Amour feel like a Richard Curtis romcom. Michel Franco’s camera intrudes, cold and clinical, on...
Rams – Review J B Queree February 7, 2016 Reviews It’s a rare beast of a film that can provoke genuine gut laughs alongside moments of true anguish, but Rams achieves both, with undeniably greater emphasis on the latter. The film is neither comedy nor...