ORWAV’s Top 20 Films of 2021: #5 – The Power of the Dog Tom Bond December 31, 2021 Analysis, Features, Top 10 A darkened interior frames a lone man striding across a dusty plain. It’s one of the most well-worn images in cinema, and it provides a powerful visual shorthand for the themes of any Western: domesticity vs...
The World to Come – Review Rafaela Sales Ross July 23, 2021 Reviews This film was previously reviewed in February 2021 as part of our Sundance Film Festival coverage. “You don’t think there’s a cage that can work to our benefit?” ponders Abigail (Katherine...
One in a Thousand – Review Angela Moore June 19, 2021 Reviews Fascination with a cooler, older girl is a rite of passage for teenage girls of a more bashful disposition. In One in a Thousand, the younger girl, Iris (Sofia Cabrera), has been expelled from school. She is...
Ammonite – Review Rafaela Sales Ross March 26, 2021 Reviews This film was previously reviewed in October 2020 as part of our London Film Festival coverage. Following his sublime directorial debut, God’s Own Country, Francis Lee once again delves into feelings of...
I Am Samuel – LFF 2020 Review Rob Salusbury October 10, 2020 Reviews “Alex is the love of my life… we belong together.” What appears to be a sweet and earnest declaration of love from Samuel, the subject of Peter Murimi’s vital documentary, swiftly becomes a defiant...
The Changing Face of Pedro Almodóvar’s Autofiction Joseph Bullock July 9, 2020 Analysis, Close-Up, Features We have always seen glimpses of Pedro Almodóvar in his films. Most notably in Law of Desire (1987) and Bad Education (2004), he has used stories of filmmakers in a self-reflective way to construct deeply...
Suk Suk – Berlinale 2020 Review Rhys Handley February 24, 2020 Reviews Pak (Tai Bo) is a taxi driver entering his twilight years yet still providing for his family. A long-closeted gay man, he spends his lunch breaks cruising in parks and public bathrooms. When he meets retiree...
Elisa y Marcela – Berlinale 2019 Review Stephanie Watts February 16, 2019 Reviews In Elisa y Marcela, director Isabel Coixet brings a tender story of love and desperation in a time of intolerance to the big screen (and small, with the film being distributed by Netflix). At times less...
Carmen and Lola – Filmfest München 2018 Review Josefine Algieri July 4, 2018 Reviews Carmen and Lola offers a love story between two Roma girls facing the deeply homophobic mindset of their cultural background, which is both particular due to their heritage, and universal, as its equivalents...
A Beginner’s Guide to… Andrew Haigh Alex Flood May 1, 2018 A Beginner's Guide To..., Analysis, Features In recent interviews, filmmaker Andrew Haigh has expressed “doubts” about his creative decisions and a fear of being “typecast” as a gay filmmaker. This inner turmoil is part of what makes his work so...
Love, Simon – Review David Brake April 7, 2018 Reviews Mean Girls. Clueless. 10 Things I Hate About You. The teen comedy pantheon already sets a very high bar, and not every film reaches it. Good news, then, because Love, Simon is a big-hearted, well-rounded...
Inferninho – BFI Flare 2018 Review Cathy Brennan March 24, 2018 Reviews There aren’t enough films like Inferninho. It’s a small tale with an immense capacity for empathy. Set almost entirely in the titular bar that caters to a group of outsiders, which counts among its staff...
Top 20 Films of 2017: #2 – Moonlight Rhys Handley December 30, 2017 Analysis, Features, Top 10 In 2017, differences of perspective mutated into an aggressive disruption of common truth. Facts are no longer sacred in societal discourse, meaning philosophical debate is now often a battle over the...
Short of the Week – In A Heartbeat James Andrews August 7, 2017 Features, Independent, Short of the Week https://www.youtube.com/watch?v=2REkk9SCRn0 Among the three-hour, exposition-heavy blockbusters it can be easy to forget how much can be done with just a few minutes and no dialogue at all. In a...
Why Multiple Maniacs Might Be John Waters’ Masterpiece Cathy Brennan March 21, 2017 Analysis, Features, Opinion When I read what critics have to say about John Waters’ early films, I find they always use the word “shocking.” John Waters never shocked me; he excited me. And Multiple Maniacs may be his most...