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Showing all Festivals festival news in Reviews
A densely written urban fantasy of love, hate, violence and redemption.
The audience cheers like football fans, filled with gratitude that Bryony Kimmings would so fearlessly share her learnings.
Luke Heggie's script takes some seriously long voyages away from the central theme and they don’t always pay off.
Everything depicted is convincingly written and cleverly choreographed, but the air of the unassuming and authentic remains.
White has a pleasant, occasionally charming, stage presence. But she is not much of a shitty carer.
Alex Williamson's set felt like a generation sticking its middle finger up at politically correct expectations.
Credible Likeable deviates from its initially gleeful outlook to adopt a dark, surreal tone that is absolutely gripping.
Teeming with the inescapable tragedy of ill-thought-out decisions, Omar canvasses universal themes in its moral quandary.
The delightful Sy and the straight-laced Lafitte are a jubilant double act, helping carry the feature in its lesser moments.
Away from a thankless, dangerous routine, Gary and Karole's romance is an escape from their duties and completely forbidden.
The information that Rossellini provides is endlessly absorbing, frequently mind-boggling and always entertaining.
The sheer joie de vivre of the cast was breathtaking.
For Fred and Theo on the precipice of a tender camaraderie, happiness – not acceptance – is all that matters.
The sometimes-opera-singer uses her voice, occasionally with the aid of body percussion, to create unique and adventurous sounds.
Paul Foot is funny and clever in a way entirely his own.
The fantasy of Populaire outweighs any attempts at feminist statements, though its comic sensibilities remain apparent.
As a host, Em Rusciano is chaotic and in-your-face, but in the best way possible.
Martin Provost's sumptuous biopic about Violette Leduc spans the end of the Second World War to the thick of her writing career.
As a monumental artistic vision, Matthew Barney’s latest film is admirable, but there’s little about it to actually enjoy.
By using an insular and seldom-explored industry as its basis, In A World… bubbles with considered comedy.
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