Love Exposure
For all its blood-spattered school uniforms and endless crotch shots, the film is, at heart, an elevating hymn to the redemptive power of love.
Review by Eleanor McKeown
For all its blood-spattered school uniforms and endless crotch shots, the film is, at heart, an elevating hymn to the redemptive power of love.
Review by Eleanor McKeown
Orson Welles’s 1965 Shakespearian adaptation was a deeply personal film to the director.
Review by Paul Huckerby
One wonders whether Gregg Araki will ever outgrow his doomy, sun-fried obsessions, and one kind of hopes he never will.
Review by Mark Stafford
Robert Wiene’s expressionist classic has madness running all the way through it.
Review by John Bleasdale
Billy Wilder’s scabrous broadside against the yellow press is as lean and mean as a rattlesnake.
Review by Mark Stafford
Orson Welles’s last film is ostensibly about the Hungarian art forger Elmyr de Hory, and de Hory’s biographer Clifford Irving, who himself faked an ‘authorised autobiography’ of Howard Hughes.
Review by Paul Huckerby
Welcome to the stocky, pudgy face of evil.
Review by Mark Stafford
Although Yasuzo Masumura was a major influence on directors such as Nagisa Oshima and Shohei Imamura, his work has been incomprehensibly neglected in the West. This is a man who was a precursor of the Japanese New Wave and a pioneer of the kind of extreme cinema that has made Takashi Miike famous, a wildly imaginative filmmaker who has no less than 58 films to his credit and is responsible for some of the most savagely beautiful, erotically-charged images ever committed to celluloid, and yet he has been treated until now as little more than a footnote in film history.
Review by Virginie Sélavy