Violet and Marlowe Rob a Bank

Violet and Marlowe Rob a Bank (2026)

Violet and Marlowe Rob a Bank world première at Tribeca, 6 June 2026 Violet and Marlowe are a loving couple of rabbits, living an idyllic-seeming life in a small farming hamlet. But when they find their fridge bare, they travel to the big city, and raid the carrot supply of the corporation that stole their…

Property

Property (Propriedade) (2022) at Make Believe 2024

Property (Propriedade) screened at Make Believe Seattle 2024 Writer/director Daniel Bandeira’s Property (Propriedade) opens with an onlooker’s phone footage, immediately setting the film in a realist mode, literally at street level. A man stands behind a woman with his arm locked around her neck, and a gun pointed at her head. He is demanding a…

Super Z

Super Z (2021)

Super Z had its UK première at FrightFest 2022 If the zombies in Super Z are, as its very title suggests, not quite like the others, then that just places Julien de Volte and Arnaud Tabarly’s feature in a long tradition of zombies who have never stopped changing and evolving. Their ‘classic’ form as slow-shuffling,…

Land of the Dead

Land of the Dead (2005)

Land of the Dead first published by EyeforFilm, 30 Sept 2005 George A. Romero established himself as the first and greatest auteur of the undead with what has since become affectionately known as his ‘Holy Trinity’, a trilogy of films that laid down both the law and the lore for zombie horror. Mixing his liberal…

East of Bucharest

12:08 East of Bucharest (A fost sau n-a fost?) (2006)

12:08 East of Bucharest (A fost sau n-a fost?) first published by Film4 Summary: In Corneliu Porumboiu’s feature debut, the history of the Romanian revolution is re-examined as farce. Review: 12:08 PM, 22 Dec, 1989. After a week of public unrest and bloody street battles, Romania’s communist president Nicolae Ceausescu was forced to flee the…

White God

White God (Fehér isten) (2014)

White God (Fehér isten) first published by Grolsch FilmWorks “Everything terrible is something that needs our love,” runs the text (cited from Rilke) with which White God (Fehér isten) opens – and then a sequence from near the film’s chronological end arrests the viewer with the sort of ‘terrible’ scenario that is coming: a girl cycles through Budapest’s…