Here at Candid Magazine we are super psyched to be covering BFI Flare again this year.
Our final update of some of the films we saw at last weeks Berlinale 2018.
March 1, 2018 | Festivals
As mentioned in our first Berlinale update, films with a strong sense of social commentary seem to be the overarching theme, but over the course of the week, we’ve gradually also seen an emergence of offerings focused on more personal motifs: such as the exploration of self and relationships with others.
So this week Candid Magazine is in Berlin attending the Berlinale 2018, the international Berlin film festival now in its 68th year.
If I’m critical of Journeyman, Paddy Considine’s sophomore directing effort, then it’s because I expect more from him.
Casting is a German indie that we stumbled across at this year’s LFF and were pleasantly surprised.
Clio Barnard’s follow-up to 2013’s brilliant The Selfish Giant is another Yorkshire-set drama but a wholly different beast.
Jean-Luc Godard has called this – an account of his marriage to Anne Wiazemsky, based on her autobiographical novel, Un an après – a “stupid, stupid idea.
Apostasy, a moving drama about the Christian sect Jehovah’s Witness, proved a highlight for me at this year’s LFF.
My first question on coming out of Moonlight was: who is Barry Jenkins? Who made this beautiful, completely absorbing, and perfectly cast film about a young man growing up gay and in poverty in Miami? From the get-go the cinematography shows the confusion and instability of the world we’re entering.
If Tom Ford’s first feature, A Single Man, was clearly the work of a fashion designer, his new offering, Nocturnal Animals, displays his real calibre as a director.
You don’t have to be a film buff to guess what Snowden, the latest film from Oliver Stone, is about.
Your Name, Japanese director Makoto Shinkai’s latest animated feature, bubbles over with far more mirth than most of Studio Ghibli’s collection but nonetheless, comparisons have been drawn between both, as well as between him and the now retired Hayao Miyazaki.
All families are dysfunctional.
After shocking us with the unmissable, one-of-a-kind Troll Hunter, Norwegian director André Øvredal has become a talent you want to keep a close eye on.
It’s satisfying just to see Emma Stone and Ryan Gosling tap dance whilst simultaneously looking for their cars on the gargantuan Hollywood Hills really, but this is far from the highlight of Damien Chazelle’s latest film.
Across his body of work as a documentarian, Louis Theroux has covered a vast array of topics, groups and points of view, but there have been two simple constants: first, his chosen method, to enter groups, families and organisations to get to know the people involved on a personal level; second, his utterly unshakeable politeness.
A United Kingdom is filled with moments of deep, brittle, and slow-burning tension, as it explores the intertwining of race, class, politics, and love, in a story based on true events in the years following the Second World War.
This is another successful film from director Lone Scherfig (An Education), who has adapted Lissa Evans’s book Their Finest Hour and an Half with elegance and talent.
From the makers of Minions and Despicable Me, with a plot inspired whilst enjoying a pot of tea, comes the musical medley Sing.