Interior of The Forum theatre for the screening of Filipiñana, in the picture it displays an ad for Asahi (Source: own photograph) Day Two and …
The MIFF “Diaries” (Part Two)
Festivals
The MIFF “Diaries” (Part One)
Screens in the lobby of the Capitol Theatre in full festival mode (Source: Own photograph) Writer’s Note: This was written some days after my return …
Who Is My Master and How Have I Come to Be? Universe25 (2025) & A Spontaneous Sunday At The Armenian Film Festival
Last month, I was methodically flicking through my emails, my online post, when I found a request to review British-Armenian director Richard Melkonian’s debut feature …
Pavements (2024): On the World’s Most Important Band
Carys Manjdadria-Jenkins pins down Alex Ross Perry’s Pavements, a documentary/mockumentary/fictional concert film which stands out in the sea of musical biopics as a ‘semiotic experimental’ …
Witches (2024)
Carys Manjdadria-Jenkins reviews Witches– Elizabeth Sankey’s essayistic film examination of mothers, witches, and the ways we mishandle both. Women often come in threes. The high …
The Flesh of Language (2024)
Carys Manjdadria-Jenkins analyses the effect of Amanda Rice’s documentary on analogue media and animal extinction, The Flesh of Language. The body of analogue media and …
The Post-LFF Debrief
Rarely does opinion not benefit from the weight of a little time to test its strength, to see whether it holds or bends. The first …
All We Imagine as Light (LFF 2024)
In A Nutshell: A stunning exploration of life and the search for connection against the backdrop of a developing country. Aftertaste: Tastes like, or rather …
The Room Next Door (2024)– Framed by death but full of life.
Nutshell: A chic polished departure. Aftertaste: A refreshing, ice-cold glass of blood orange juice—its initial sweetness bursting with the vitality of life, followed by a …
Interview: ‘The Stimming Pool’ (LFF 2024)
Storytelling often finds itself on that straight and narrow path which begins with a beginning and ends with an end. The Stimming Pool (2024), however, …