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A Beginner’s Guide to Russell Crowe (One Room With a View)

A Beginner’s Guide to Terrence Malick (One Room With a View)

All About My Mother: Cinematic Memories of Pauline

A Look Inside Mulholland Drive’s Troubling Heart of Darkness (One Room With a View)

Anticipating Knight of Cups: A Reflection on the Phenomenon of Terrence Malick

Casino Royale: The Last Great Bond Movie (One Room With a View)

In Defence of The Sixth Sense

In Defence of Wes Anderson: The Horizontal Tracking Shot in The Royal Tenenbaums

Irréversible: Shallow Exercise in Provocation and Exploitation, or Ingenious Deconstruction of Genre Cinema?

The Invention of Lying: Ricky Gervais subverting Hollywood or submitting to it?

The Iraq War in Documentary: Iraq for Sale

The Lack of Female Directors: The Deeper Injustice

La Belle Dame Sans Merci: Tarkovsky’s Reinvention of the Femme Fatale in Solaris (One Room With a View)

Last Chance Harvey: Evidence of Screen Chemistry?

Mirrors: Tarkovsky & Derrida in Ruins

My Cinema of Attraction

New Town Killers: A Novel Approach to Anti-Capitalist Cinema

Pedro Almodovar’s Broken Embraces

The Prescient Politics of GW Pabst’s Anti-War Films (Little White Lies)

Remembering Michael Cimino and The Deer Hunter (One Room With a View)

Remembering Morvern Callar: A Forgotten Gem of British Cinema (One Room With a View)

Scene Stealers: Christopher Plummer in Beginners (One Room With a View)

Scene Stealers: Martin Scorsese in Taxi Driver (One Room With a View)

Second Chance: Man of Steel (One Room With a View)

Shakespeare Plays Ranked

Short of the Week: Before Passing, dir: Bianca Lucas (One Room With a View)

Soderbergh’s Solaris: A Superior Hollywood Remake (One Room With a View)

The Brilliance of Juliette Binoche (One Room With a View)

The Divine and the Comedy of Bruno Dumont (One Room With a View)

The Science of Ghosts: Cinematic Depictions of Grief (One Room With a View)

The Thaw: A Country’s Ideological Shift written in its Cinema

Unravelling the genius of Todd Haynes’ Far from Heaven (One Room With a View)

Venezia 70 – Future Reloaded: Abbas Kiarostami

Welcome to Argentina: New Argentine Cinema (One Room With a View)

‘What Money Brings’: A Meeting with Terence Davies

Why I Love Terence Davies’ The Long Day Closes (Little White Lies)

Why Sideways is still Alexander Payne’s finest vintage (One Room With a View)

Why The House of Mirth is Terence Davies’ Most Underrated Film (One Room With a View)

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