cinema

Film review: Don’t Worry Darling

Amidst a series of sensationalised tabloid rumours that led to a much-talked-about premiere, the anticipation around Olivia Wilde’s latest film has been rife. Following on from her acclaimed debut Booksmart, she’s back in the director’s chair for psychological thriller Don’t Worry Darling. Florence Pugh stars as mid-century housewife Alice who enjoys steamy marital bliss with Jack (Harry Styles) in suburban company town Victory, California. After a few red flags, she becomes suspicious of the community around her, in particular of her husband’s mysterious boss Frank (Chris Pine), and soon their idyllic existence is called into question.

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cinema

Film review: Clerks III

Almost thirty years after the seminal original, Kevin Smith brings his layabout trilogy to a close with his latest comedy Clerks III. Back at the Quick Stop convenience store where it all began, Dante (Brian O’Halloran) and Randal (Jeff Anderson) team up with drug-dealing duo Jay (Jason Mewes) and Silent Bob (Smith) to make their own autobiographical movie, taking them down memory lane and putting their friendship to the ultimate test.

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cinema

Film review: Bodies Bodies Bodies

 Moving from in front of the camera to behind it, Dutch actress-turned director Halina Reijn takes a stab at a social satire slasher with her English-language debut, Bodies Bodies Bodies. Adapted from an original story by Cat Person author Kristen Roupenian, the plot sees Sophie (Amandla Stenberg) and her new girlfriend Bee (Maria Bakalova) join pals for a hurricane party thrown by David (Pete Davidson) at his family’s mansion. The couple, along with Alice (Rachel Sennott), Greg (Lee Pace), Jordan (Myha’la Herrold) and Emma (Chase Sui Wonders), decide to do a murder mystery roleplay, but when quietly held grudges and scandalous secrets bubble to the surface, it takes a very dark turn.

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cinema · EIFF22

Film review: The Forgiven

 John Michael McDonagh is perhaps best known for black comedies set in the sinister, sprawling vistas of Ireland, but he’s arrived in sunnier climes for his latest feature, The Forgiven. Based on the 2012 novel of the same name by Lawrence Osborne, the drama sees functioning alcoholic David (Ralph Fiennes) and his glamourous wife Jo (Jessica Chastain) arrive in Morocco to attend the luxury desert retreat of friends Richard (Matt Smith) and Dally (Caleb Landry Jones) for a weekend fuelled by booze and narcotics. Tragedy strikes whilst on their way to the party, and the couple are soon forced to face the consequences of their actions.

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EIFF22 · Interviews

It is in Us All Interview: Antonia Campbell-Hughes – ‘It was like a one-man-show, like theatre. It was extraordinary’.

I have been fascinated by the work of actor Cosmo Jarvis for the past few years, and always take a keen interest in what he’s working on and who he’s working with. His latest performance is in Irish drama It is in Us All where he plays Hamish, a Londoner who takes a trip to Donegal to visit a house left to him by his late aunt. On his way, he’s involved in a brutal car crash, which forces him to confront his past and leads to an unorthodox new friendship. I was very fortunate to sit down with writer and director Antonia Campbell-Hughes to chat about the film…

In the Q&A after last night’s screening, I found it very interesting that you described the film as sci-fi, as it does have an otherworldly quality to it. I saw it as a Western in the way in which Hamish arrives in a strange town at the beginning, and how people sort of know who he is but there’s still that air of mystery to his presence. I know you might not want your film to be defined by its genre, but can you speak a little on how you approached that…

I love what you just said about it feeling like a Western, because in the beginning, all the people he encounters are like the townsfolk. People asked whether or not I changed it for pandemic, but it was always written that way. There are these very individual encounters where people almost deliver a message, and I used to reference Deliverance in that sense because everyone he meets is slightly off. I think there is a world between the Western and science fiction elements. It’s not either, but it is ‘the weird and the eerie’, and those were films that I find curious and interesting.

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cinema · EIFF22

Film review: The Score

Combining tragedy, comedy and romance into a crime thriller musical, The Score is an admirably ambitious feature debut from Malachi Smyth. The plot follows crooks Troy (Will Poulter) and Mike (Johnny Flynn) as they stop off at a roadside café to carry out a deal. As they await their criminal counterparts, they meet waitress Gloria (Naomi Ackie), and an unexpected relationship develops.

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cinema · EIFF22

Film review: Resurrection

 Off the back of her leading role in haunting horror The Night House a couple of years ago, Rebecca Hall finds herself at the centre of another tense mystery in Resurrection, written and directed by Andrew Semans. From the outside looking in, Margaret (Hall) very much has her life together, excelling in a high-powered job at a pharmaceutical company and raising her teenage daughter Abbie (Grace Kaufman) to share the same strong values and success. However, when she spots David (Tim Roth) at a conference, she begins to spiral out of control as her dark past catches up with her.

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cinema · EIFF22

Film review: Aftersun

Writer and director Charlotte Wells gets nostalgic for 90s package holidays in her first feature Aftersun. The drama looks back at a father-daughter trip to a Turkish family resort, as Calum (Paul Mescal) takes his 11-year-old, Sophie (Frankie Corio) for a week away. We see their tale through the shaky lens of a camcorder, or through the sun-soaked memories of an older and wiser Sophie, remembering the happy-go-lucky version of her dad as he hid the severity of his problems behind wit and a charming smile.

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Interviews

Wolf Interview: Nathalie Biancheri – ‘People will love it or hate it, but should take George Mackay seriously’.

Writer and director Nathalie Biancheri released her debut Nocturnal in 2019, which caught my attention and marked her as one of the directors I’d love to talk to about their craft. Her second effort Wolf explores the dark and unusual subject of species dysphoria, as the protagonist, played by George Mackay, believes he is a wolf stuck inside a boy’s body. I was fortunate enough to chat to the filmmaker about this piece…

As Wolf is your second feature film, was there anything in particular that you’d brought forward into it from the learning experience that came with directing your debut?

Wolf was such a crazy, demanding, and very insane film from a performance and directing actors’ point of view, so I think it was really reassuring was to have made a first film before going into it. I think what was what was amazing was to have had that first feature even though it was very small. Knowing that it was possible somehow, and not having this unknown of making a feature film and the absolute fear that comes with that was great.

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