Adopting Audrey

Adopting Audrey (aka Porcupine) (2021)

Adopting Audrey has its European première at the Glasgow Film Festival, 2023   “Don’t you ever feel like you just want to – leave?”, asks Audrey (Jena Malone, astonishingly nuanced) at the call centre where she works. Audrey is surprised to hear how long the customer on the other end of the phone has lived…

Moon Garden

Moon Garden (2022)

Moon Garden has its international première at Grimmfest  “Wake up,” are the opening words of Ryan Stevens Harris’ Moon Garden, as Sara (Augie Duke) quietly gets her five-year-old daughter Emma (a very impressive Haven Lee Harris) up and into the car so that the two of them can sneak away before dawn. “Where’s daddy?”, asks…

Splinter

Splinter (2022)

Splinter had its international première at FrightFest 2022   After a prologue in which uncomprehending little Scott Wills (Michael P.J. Marston) is left by his distraught mother Margaret (Amanda Brooke Lerner) to be raised by his aunt and uncle in Baltimore, we see old carpet being scraped from a floor to reveal gradually not just…

Funuke

Funuke: Show Some Love, You Losers! (2007)

Funuke: Show Some Love, You Losers! first published by Film4 Summary:  Daihachi Yoshida’s directorial debut is a black domestic dramedy in which family frictions seek artistic outlets.  Review: The dysfunctional family is a traditional subject for Japanese cinema that perhaps achieved its best known and most refined form in Yasujiro Ozu’s Tokyo Story (1953). Daihachi Yoshida’s…

Birthday

Birthday (Saeng-il) (2019)

Text of my onstage introduction to Birthday (Saeng-il), which screened at the London Korean Film Festival 2019 On the morning of 16 April, 2014, an 18-year-old, overladen ferry named the MV Sewol was travelling from Incheon to Jeju, when it listed heavily while making a course adjustment and started rapidly taking on water as it…

Interview: John McNaughton on The Harvest (2014)

Interview first published by Film4 Chicago born and bred, John McNaughton broke into the filmmaking world with a well-received if little-seen documentary on his hometown’s gangsters, Dealers in Death (1984) – but it was his next film, the unflinching crime psychodrama Henry: Portrait of a Serial Killer (1990), that would gain McNaughton the most attention….