“Then I defy the gods”: A Review of Christopher Nolan’s Iteration of The Odyssey.
“It makes sense that Christopher Nolan would choose The Odyssey as his first feature length to be shot entirely on 70mm IMAX film, as this large and imposing format deserves a monumental story to display its capabilities”.
Fionn discusses “The Odyssesy”.
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The Odyssey: Nolan’s Hope for the Future
“Nolan’s commitment to practical filmmaking is not just a refreshing stance in an industry eager to offload creative work to AI, its proof that filmmaking at this scale, which creates hundreds of jobs, is still possible and profitable without sacrificing artistry.”
Amy discusses the latest from Christopher Nolan, “The Odyssesy”.
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“Rosebush Pruning” and its Beautiful Decay
“Aïnouz demonstrates a clear and richly articulated vision that aligns closely with the film’s conceptual framework. Through a deliberate use of iconography, costume design, and a consistent colour palette dominated by deep, blood-red tones, he constructs a world that feels suspended in time, burdened by grief from the outset.”
Michael reviews Karim Aïnouz’s “Rosebush Pruning”.
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The Most Awkward Dinner Party of the Year — The Invite Review
“…the film remains visually dynamic. Angela and Joe’s apartment becomes almost an extension of Angela herself; warm and inviting when moments of genuine connection emerge, yet increasingly claustrophobic as conversations spiral into confrontation.”
Lauren discusses Olivia Wilde’s newest directorial credit, “The Invite”.
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Depicting Post-Natal Depression – Die My Love
“Rather than employing conventional storytelling, the film acts as an extensive study of the female soul in the turbulent period of early motherhood. A topic that is heavily tabooed and misconceived, yet to which Die My Love does justice.”
Zuzana discusses the themes of “Die My Love”.
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Be My Romcom — People We Meet on Vacation Review
“In the modern film industry that often struggles with lighting and which pursues millennial grey as a colour palette, PWMOV is kaleidoscopic. The movie is alive with colour, every scene popping off the screen. The score is also excellently curated, as it perfectly aligns with the emotional resonance of each scene. Paula Abdul’s ‘Forever Your Girl’ will take its place in romcom music history, alongside “Everlasting Love” and “You’re So Vain”.”
Caroline dives into Brett Haley’s People We Meet on Vacation.
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The Charm of “non-biopic” Biopics and the Consequences of Ruthless Ambition in “Marty Supreme”
“Timothée Chalamet is made for this role… He is in full control of the magnetism he utilises to disarm Marty’s opponents no matter if it’s a potential sponsor or a short-lived fling, but with his body language he occasionally smoothly slips into a “leakage” of despair and anxiety. Enthralling, the audience almost enters a toxic relationship with Marty through Chalamet’s nuanced portrayal, luring us to look past his behavior and root for his atonement.”
Iveta covers Josh Safdie’s “Marty Supreme”.
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Family as The Muse in Sentimental Value
Amy delves into Joachim Trier’s Sentimental Value, exploring themes of family relationships and muses.
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Lighting the Divine – Wake Up Dead Man Review
anfa is back with a piece on Rian Johnson’s “Wake Up Dead Man” which is part of the Knives Out series. Adelaide speaks on lighting as a storytelling tool and Johnson’s karmic narratives.
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In Retrospect: Edinburgh Film Festival
Iveta looks back on the films and Q+A’s that she attended at the 78th Edinburgh International Film Festival.
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