Ben Wheatley’s In the Earth is a trippy eco-horror
A well-meaning scientist with an interest in mushrooms travels to a remote ecological centre in the aftermath of an unspecified, disastrous plague.
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Philippa Snow
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How In the Cut offers a disturbing look at the dark side of desire
Jane Campion’s 2003 film is an ugly, frightening exploration of the danger that comes with being a woman attracted…
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Lisa Cholodenko’s 1998 High Art is an eerily precise portrayal of stone-broke bohemian city living
In this hip and smacky drama-romance, a young woman drifts through parties, trying to find a higher purpose.
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Happiest Season is a warm, light-hearted festive romp
This Kristen Stewart-Mackenzie Davis romcom asks “What if Meet the Parents had been 90 per cent gayer?”
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Why Gaspar Noé’s Enter the Void is the perfect setting for natural-born provocatrice Paz de la Huerta
In Noé’s drugged-out three-hour riff on The Tibetan Book of the Dead, de la Huerta gives perhaps her best performance…
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Why David Fincher’s slick thriller Gone Girl is also one of the great romcoms
The film’s structure of two halves is perfectly suited to its genre, which is arguably that of the marriage…
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The dizzying Celine and Julie Go Boating is apt viewing for a chaotic present
The brilliantly trippy Seventies masterpiece suits the growing feeling that life itself is somehow glitching, looping, or not making sense.
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David Cronenberg’s 2012 film Cosmopolis is even more exhilarating today
The dystopian thriller offers both the soothing image of a billionaire capitalist brought to heel by riots, and one…
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Why Southland Tales – a fascinating disaster of a movie – is apt lockdown viewing
Richard Kelly’s science-fiction comedy was widely derided on release in 2006, but it has since found a cult audience.
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