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For You, The Disappeared film review by UK film critic Jason Knight. Starring Basil Fernando, Samanmali Hettiarachchi, Brito Fernando, Chandraguptha Thenuwara directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS For You, The Disappeared Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 12, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Basil Fernando, Samanmali Hettiarachchi, Brito Fernando, Chandraguptha Thenuwara A short documentary about people disappearing in Sri Lanka, directed by Ranga Bandaranayake and written by Chamara Prasanna Kodithuwakku. For decades, countless of citizens of Sri Lanka have vanished without a trace. This twenty-minute-long film aims to acknowledge this. Via a large selection of dramatic photographs and several interviews, viewers will become aware of the tremendous suffering that has been caused due to people losing their loved ones and that this situation is continuing today. They will also be informed of the Monument of the Disappeared, a structure built in order to serve as a place of mourning and to honor those who vanished and of the Dabindu Collective, an organisation that protects the rights of women labourers in the free trade zone. The photographs are quite vivid. They consist of people protesting, individuals holding pictures of lost loved ones and devastating results of brutal conflict. All this is superbly edited by Vishwa Ranga Surendra and the visuals are accompanied by dramatic music thanks to the contribution of Nadika Weligodapola and voice-over by Dhammika Bandara and Nishadi Bandaranayake. The interviewees are Basil Fernando, a Human Rights activist, Samanmali Hettiarachchi, the Director of Dabindu Collective, Brito Fernando, a Human Rights activist and Professor Chandraguptha Thenuwara. Listening to them paints a picture of the dark side of Sri Lanka. The filmmakers utilise an intertesting technique with the obvious intention of creating drama. This involves numerous sequences that begin with the photo of two to five people. Then the film cuts to a lit candle that goes out and when it does, the image turns black-and-white and there is a loud noise that resembles a gunshot. It then cuts back to the photo, where one person is suddenly replaced by a photo frame and inside it is a dark silhouette of a person, apparently of the one who is not present in the picture with the others. This method is a way of visualising a disappearance and acknowledging the emptiness that it causes to their loved ones. This film emphasises a very serious issue that has affected many people in Sri Lanka, points out corruption and supports fight for justice. This documentary is an informative, shocking and poignant viewing. It raises awareness of the disappearances that are taking place in Sri Lanka and pays tribute to the ones who vanished and this makes it a viewing worthy of attention. About the Film Critic Jason Knight Short Film, Documentary, World Cinema < All Reviews Next Film Review >

Film reviews from some of the biggest movies in UK cinemas. We also review short films, indie films, and documentaries. Find a movie review now. Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 4 out of 5 An Ríomh Read Review average rating is 4 out of 5 Influencers Read Review average rating is 3 out of 5 Silent Night, Deadly Night Read Review average rating is 4 out of 5 The Caretaker Read Review average rating is 1 out of 5 Lunavom Read Review average rating is 4 out of 5 Eraserheads: Combo on the Run Read Review average rating is 3 out of 5 Merrily We Roll Along Read Review average rating is 5 out of 5 Hamnet Read Review average rating is 1 out of 5 The Big Pelvis Read Review average rating is 3 out of 5 Hot Box Read Review average rating is 3 out of 5 Tangled Up in Christmas Read Review average rating is 4 out of 5 Wake Up Dead Man: A Knives Out Mystery Read Review Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

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Film Feature by Chris Olson The arrival of a major feature film directorial debut is always an event worthy of attention on the British cinematic calendar, but when that debut comes from an actor of Kristen Stewart’s unique trajectory, it demands closer inspection. On January 9th, UK audiences will finally have the opportunity to engage with her powerful new picture, The Chronology of Water . Adapted by Stewart herself from the unflinching 2011 memoir by Lidia Yuknavitch, the film is a deeply personal, impressionistic, and often confrontational exploration of trauma, survival, and the cathartic transformation of anguish into art. This is not a star slumming it; this is a serious artist launching herself fully into the realm of auteur cinema. Stewart’s career in the public eye has been one of fascinating evolution and constant self-redefinition. For millions, she will forever be known as Bella Swan, the human heroine of the multi-billion-dollar Twilight Saga  franchise. Yet, to focus solely on that juggernaut of popular culture is to miss the far more compelling narrative of her post-fame choices. Long before the vampires and werewolves, Stewart demonstrated her remarkable ability for nuanced, intense performance in films like David Fincher’s Panic Room  and Sean Penn’s Into the Wild . The years following the end of Twilight  saw her deliberately pivot away from Hollywood’s relentless machinery, favouring collaboration with distinctive auteurs from across the globe. She became the first American actress to win a prestigious César Award (the French equivalent of an Oscar) for her magnetic turn in Olivier Assayas’s Clouds of Sils Maria . She cemented her status as a critical darling with Assayas again in the spectral thriller Personal Shopper , before delivering a career-defining performance as Diana, Princess of Wales, in Pablo Larraín’s surreal biographical drama Spencer , earning her an Academy Award nomination. This remarkable filmography—a catalogue of challenging roles and fearless artistic alliances—makes her move to the director’s chair feel less like a whim and more like an inevitable and welcome next stage. The film trailer for Kristen Stewart’s directorial debut, The Chronology of Water , offers a potent and deliberately disorienting glimpse into the film’s unique approach to Lidia Yuknavitch’s memoir. Far from a conventional theatrical preview, this footage immediately confirms that Stewart is pursuing a deeply aesthetic and psychological vision, much as her impressive acting career suggested she would. This is not a film that will hold the viewer's hand. The overriding mood is one of fractured memory and intense emotionality, set against a backdrop of grainy, tactile 16mm cinematography. We hear Lidia (Imogen Poots) state early on, "that's not how I remember it, it's all a series of fragments," a line that acts as a mission statement for the trailer itself. The visuals are intimate, often unsettling, flicking between moments of self-destruction and the serene, blue escape found in competitive swimming. The element of water is central, shown not just as a physical refuge but as a symbolic, emotional space where Lidia can "surface with great force." The trailer highlights Imogen Poots' raw and commanding performance, which grounds the film’s more experimental flourishes. She portrays the protagonist’s vulnerability and her defiance with equal measure, promising the kind of physically and emotionally demanding turn that defines an actor's year. We see fleeting cuts of key supporting players, including the welcome sight of Jim Belushi, who plays the legendary counter-culture figure Ken Kesey. What the trailer excels at is establishing the thematic core: the transformation of painful history into narrative. We witness the protagonist's journey from a young woman haunted by her past—the voiceover observes that "no one is big enough to hold what happens to us"—to an artist capable of commanding her own story. The concluding voiceover is perhaps the most resonant: "memories are stories, so you better come up with one you can live with." This is a powerful, uncompromising piece of marketing that sells the film’s artistic ambition, not its star power. It suggests that on January 9th, audiences will be treated not just to a drama, but a lyrical, visual poem on survival. It is a bold statement from a first-time director, demonstrating a confidence that should thrill any serious cinephile.

Film Feature by Chris Olson The rumour mill has been churning for months, but a new, deliberately understated poster for Kristoffer Borgli’s 2026 feature, The Drama, has finally given us something tangible to sink our teeth into. And, as expected from an A24 production helmed by the singular talent behind Dream Scenario, the first piece of publicity is far from conventional. It’s an intimate, grainy photograph that speaks volumes about the star power and potentially unsettling tone awaiting us when the film lands on April 3. The poster itself immediately establishes a certain aesthetic. It’s styled like a vintage Polaroid, complete with the slight blurring and warm, saturated colours typical of an old photograph. It’s an immediate signal that this is not a sweeping epic or a glossy blockbuster. It suggests a certain observational intimacy, perhaps a character study, a window into a private life. Front and centre are the two colossal talents the entire project hangs on: Zendaya and Robert Pattinson. Pattinson, sporting a pair of thick-rimmed spectacles and a slightly dishevelled look, leans into the camera with an expression that is half-smirk, half-surprise. He has entirely shed the brooding gothic cape of his early career, having expertly navigated a transition into the world of challenging, auteur-driven cinema. The glasses alone suggest a shift away from physical action towards something more cerebral, perhaps a writer or an academic caught up in the titular conflict. Positioned close behind him is Zendaya, her arm looped around his neck, her hand resting on his chest, a distinctive ring catching the light. She gazes directly at the viewer with a measured, knowing look that is utterly magnetic. The chemistry, even in this static image, is palpable—a mixture of comfort and co-dependence that hints at a complex relationship at the film’s core. It is the kind of image that raises a flurry of questions: Are they a couple? What is the ‘drama’ they are facing? Is the invitation “cordially invited to” an invitation into their private turmoil? Sick of Myself Official Trailer The involvement of Kristoffer Borgli is arguably as exciting as the pairing of the lead actors. Borgli has an established flair for dark satire and the anxieties of the modern age. His previous works, such as Sick of Myself, demonstrate a willingness to dissect the uncomfortable facets of ambition and ego with a surgical precision wrapped in bleak comedy. Knowing this, the seemingly benign intimacy of the poster takes on a subtly unsettling edge. We can expect The Drama to be a far cry from a typical romantic comedy; instead, it is likely to be a darkly comedic dissection of a contemporary relationship under pressure. With the formidable backing of A24, a studio synonymous with distinctive, uncompromising filmmaking, and a director who thrives on boundary-pushing narrative, The Drama instantly vaults into must-see territory for 2026. The new poster is a masterclass in minimalist publicity, achieving maximum buzz through quiet confidence. It doesn't need explosions or a lengthy synopsis; the image of its two brilliant leads, framed so intimately, accompanied only by the director's name and the promise of a date—April 3—is more than enough to have the entire UK critical establishment counting down the days until release.

Star rating: 5/5 Writer: Joe Burden Director: Joe Burden Starring: Ken Ogborn and Paige Kimberley This political, unapologetic film is a strong, thought-provoking and piece. It’s a good moment to reveal to our readers one of my unpopular opinions: brutalist architecture is amazing, and beautiful. The British iteration of the brutalist movement brought with it the concept of ‘neighbourhoods in the sky’, first proposed by Peter and Alison Smithson in the 1960s. The aesthetic result of this idea was immortalised, for example, in the cover of The Beatles’ first album. The Brutalist bring this spirit to life fully. The main character in the film, a middle-aged photographer, rages against the iPhone when a photography enthusiast approaches him and takes pictures with her phone. We discover that he is working on a documentary about brutalist architecture, its functionalities, vision and spirit. He tells the viewers about the social architecture approach, and how the movement considered lived spaces, for ordinary people. There is, we are told, a sharp difference in how society developed in the decades following, a shift that culminated in neo-liberalism and an abandonment of the communal ideas that Brutalism embraced- the Thatcherite turn, we might call it. The film showcases beautiful and imposing shots of a Leicester landmark, the Lee Circle Car Park, opened in 1961, which was the first of its kind in Europe. The photographer manages to make the space the main character; low-angle close ups, wide shots, all bring the huge structure to life. The cinematography of the night-time scene it ends with adds to the film’s message and spirit. The Brutalist is a must-watch for anyone with a particular love for locations, which always include built heritage, and their role in film as an art form. ‘People get what they deserve’, says our photographer. Perhaps, although I would look at it from a different angle: people don’t get what they don’t ask for. The unapologetic energy and far-reaching view of art which The Brutalist expresses is deeply inspiring.