A film appreciation and curation project dedicated to championing outstanding cinema


Cambridge Film Festival In Review
The Cambridge Film Festival has come to an end for another year, with the 41st edition of the festival closing its doors with the fantastical biopic THE SILENT TWINS on Thursday night. A lot of the award-winning features from the major festivals more than lived up to lofty expectations
Making Waves: In Review
July Rhapsody_2
The latest London-based film festival dedicated to Asian cinema, Focus Hong Kong’s Making Waves – Navigators of Hong Kong Cinema, came to a close last Sunday at The Garden Cinema with the UK premiere of Ann Hui’s newly restored classic July Rhapsody.
Odyssey Festival Recommendations
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As Odyssey comes to a close, we’ve decided to highlight five films from the festival’s online offering that grabbed our attention, ranging from their Chinese Regional Cinema and Women Through the Lens programmes, to the festival’s surprise film. 
Odyssey Short Films Programme
“An Exploration” is Odyssey’s short film programme dedicated to showcasing the range of different genres, themes, and aesthetics of 21st-century Chinese cinema, ranging from atmospheric shorts to incisive documentaries.
The Texas Chainsaw Massacre 2
When Tobe Hooper set out to make a sequel to his landmark horror film The Texas Chainsaw Massacre, he insisted on taking it in a very different direction in a response to the wave of horror films inspired by his 1974 masterpiece.
Morvern Callar
Based on the Alan Warner novel of the same name, British auteur Lynne Ramsay’s second feature has largely flown under the radar since its release two decades ago. Whereas films such as You Were Never Really Here and We Need To Talk About Kevin were award-winning, critically acclaimed pieces of work, Morvern Callar did not get the same adulation.
RAW has been available on Blu-ray for many years but in spring 2021 Second Sight produced a bumper Limited Edition release of this bold and subversive film that has gone on to attain cult status.
The film itself is suitable midnight movie viewing, perfectly trashy with a grimy atmosphere and a 70s, almost European arthouse aesthetic.