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Star Rating: 5/5 Directed by: Valery Carnoy Written by: Jacques Akchoti, Valery Carnoy Starring: Samuel Kircher, Faycal Anaflous, Anna Heckel Film Review by: Joyce Cowan Wild Foxes (or Le Danse de Renards ) is a thoughtful, articulate French coming-of-age story. The story is set in semi-rural France in a secondary school where the students get amazing sporting and music education, and high-level performance opportunities. Camille (Samuel Kircher), our protagonist, is a brilliant boxer who his coach and headteacher are nurturing to compete an international level. But when his chance to compete is threatened and Camille’s outlook on his life changes, leaving both his friends and the adults who look after him perplexed, the story unfolds in unexpected ways. Wild Foxes is really elegantly written, even containing symbolism: foxes, which Camille is a fan of, appear throughout the film as part of the ecology of the school grounds, at one point being hunted due to neighbour complaints. The symbolism is hard to miss, as in various cultures, foxes represent cunning and cleverness as well as adaptability and creativity, which are the attributes Camille needs for sporting success. Throughout the story, he is engulfed by crisis: in his performance, his friendships (which at various points turn violent), and his own understanding of what he really wants, in what is an incisive portrayal of the struggles of sporting potential and high performance at an extremely young age when the personal sacrifice may be too high a cost to pay- this is the cross roads we find our character in. In particular, the presence of Yas (Anna Heckel), a student in the same school who is both sporty and musical, and the only female character, harmonises brilliantly across the story, giving Camille a sense of perspective. Technically, the film is graceful and almost understated. Containing brilliant moving shots in the boxing and dressing room scenes, serene wide shots of the school woods, incisive close-ups, and one particular extreme wide shot of Camille and Yas on a rooftop as he films Yas for an audition to an orchestra as a trumpet player, which I would highlight. "You succeed, I succeed, it’s the same thing." Matteo (Faycal Anaflous), Camille’s best friend, tells him at the start of the film as they train together. The strength of their bond is tested to the limits throughout the film, but this phrase encapsulates nicely what Wild Foxes is about: friendships, the first romantic feelings, personal ambition, and our own emotional health as we reach the end of childhood. How we balance these, and the support we get from the adults in our lives, sets us up for life and defines how far we can keep the danger of self-sabotage. Wild Foxes handles this premise with depth and consideration. WILD FOXES is in cinemas 1 May 2026.

Star rating: 4/5 Writer: William Grunnill Director: William Grunnill Starring: Andy Edwards, Dave Brown, Martin McAleese, Liam Boss, Bethany Murray and Rachel Pennington. Meat is a striking metaphorical representation of social power and impunity. Written and directed by William Grunnill his story is set in a restaurant being visited by a VIP customer, The MP, and it starts deceitfully simply, though we can sense the tension.  As this important customer gets his condescending service, a shocking truth is revealed when he gives the chef his commendations after having just a stake and some red wine.  The self absorbed and arrogant MP is powerfully portrayed by Andy Edwards, who gives a a strong, absorbing performance.  Where this piece could be much stronger is in the technical aspects, including framing of the shots, but this does not detract from the powerful narrative to any significant extent.  The bloodcurdling reveal of the end is particularly striking in the current context of a misogynistic backlash and the manosphere's increasing reach.  It feels like an urgent as well as deeply evocative piece.

Star rating: 5/5 Director: Steffen Hou Face of Hate is a documentary film about human redemption where deep trauma transformed into hate, is retransformed into love and consciousness. Directed by Steffen Hou, this piece presents to us the story of Jason Baker, a man from Michigan, United States, who when still a child was exposed to the white supremacist movement, which he formally joined when young to become a domestic terrorist. Steffen, whose family suffered the consequences of 20th century fascism in Denmark, meets Jason at the height of his hateful approach to life, explicit support for Nazism and white supremacist activities, including shooting practice, and begins to interview him. In the process he builds a personal relationship of quite honest and deep communication with Jason, who seems comfortable to share his lifestyle and hateful views with Steffen.  The director expresses that, in all his career as a documentary maker, Jason is ‘the most complicated and hateful person I have ever met’. The film is structured in a deeply illuminating way, and we get to see Jason’s context: his brother, his daughter, and some of his friends- who to begin with are also part of the white supremacist movement. The juxtaposition between the way he physically lives- in the Michigan countryside, raising pigs, with plenty of space to roam and a slow pace to his life, and his other experiences, of extreme violence and time in prison, makes this a gripping and politically significant, as well as educative story. Empathy is the key to how we should approach Face of Hate, not least because it actually demonstrates to us empathy in action: from Steffen, and ultimately from Jason himself, his brother Nathan and in particular Jason’s daughters, who perhaps could have their own stories told. Face of Hate asks us to grapple with trust, cynicism and deal with the seemingly ample evidence that human beings do not learn and do not change. The glaring point here is that, with support to deal with his unusually traumatic experiences as a child, in other words had his own country looked after him, Jason would not have led the life he led for many years. Documentaries like Face of Hate show the urgent need for systemic social and political change in how society supports its traumatised fellow humans, which saves them pain but also crucially avoids further pain by neutralising hateful trajectories. This cannot happen soon enough.

Film Feature by James Learoyd Exciting news for horror fans everywhere! If you love Eurotrash, classic exploitation genre-films and a general ora of the bizarre, there’s a chance that you already love cinema’s greatest freak, Jesús (Jess) Franco: the controversial Spanish horror legend who produced almost (though perhaps over) 200 feature-length films in his career. These pictures were frequently defined by their musical experimentation; inclusion of erotic, almost pornographic, scenarios; as well as a flowing, stream-of-consciousness aesthetic formed through never-ending zooms, lack of concrete narrative, and reliance on the expressionistic language of editing. I’m very happy to announce then that we’ve been blessed with two new 4Ks / blu-rays from Severin (a long-time supporter of Franco’s work) which are both lovingly put together with hours of phenomenal bonus features. The movies are Vampyros Lesbos (1971) – Franco’s most known and celebrated work – and She Killed in Ecstasy (1971), both starring the tragically departed Soledad Miranda in two of her six titles she produced with Franco over the span of a year. I was lucky enough to get early access to these discs and not only found myself falling in love with these movies again, but becoming truly inspired by the additional material provided. So, let’s dive into this provocative double-bill! VAMPYROS LESBOS On a rewatch, I can safely say that Vampyros Lesbos is a masterpiece, but in its own unusual way, and on its own unfathomable, formally stimulating terms. And part of what makes it a masterpiece might be because it requires more than one viewing, as well as a complete immersion in the larger contexts of Jess Franco’s filmic intentions. Franco’s love of older literature, especially horror, can be seen through much of his filmography, yet nowhere is it better crystalised as here, wherein he reinterprets the classical tale of Bram Stoker’s Dracula through a modern-day setting, queer characters and a sexually explicit presentation. My main takeaway from the piece itself on my first rewatch is this: Franco is most skilled at immersing his audience in environments and feelings that are utterly intangible. For instance, the opening burlesque performance involving the use of reflection, the black background (which the film keeps returning to in snippets after the fact) completely exists within the deepest recesses of my psyche – despite, or because, it geographically lacks clarity, and doesn’t feel as if it has any real beginning or ending in terms of sequential beats. This is the kind of stuff this critic obsesses over. (BONUS FEATURES) I listened to one of the two featured audio-commentaries provided, that by Kat Ellinger, which is quite wonderful. At first, I found it overwhelming when it came to the focus on more academic discussion; but as soon as I settled in for her thought-provoking perspective, I became absorbed in how Ellinger framed what we were watching through the political and historic. I loved how she takes us through the relevance of literature as well as the contexts under which Franco made his films (frequently in exile due to the constraints imposed by dictator Generalissimo Franco of Spain and his regime, in addition to the authoritarian nature of the Catholic church at the time). Jess Franco was a real radical! There is a featured interview with an old and grizzled Jess Franco, shortly before his passing in 2013, titled ‘Interlude in Lesbos’ which is quite interesting. Holding onto a cigarette which seemingly remains forever unlit, the man rests further and further back in his chair over the course of the footage, and the way the camera tracks his movements I found quite amusing. ‘Fever Dracula’ is then a featured interview with the incredibly articulate Stephen Thrower – the leading Franco academic whose writing and testimony has long been a bit of a staple of many physical releases of the director’s films. In this interview, he focuses on how Vampyros Lesbos announces a new and abstract form of cinematic language – one that would come to define the Franco style. But maybe the biggest boast of these bonus features is titled ‘The Red Scarf Diaries’: an interview with Sean Baker regarding how the work of Soledad Miranda and Jess Franco influenced his Best-Picture-winning Anora. One can’t help but be charmed by how the Oscar-winning filmmaker expresses the journey all genre-fans embark on with Franco; one of perplexed beguilement, at first unimpressed by how “rough around the edges” the work is, yet eventually identifying the hallmarks of a real “auteur” with undiluted vision. We then get an entry in an extended travel docuseries entitled ‘In the Land of Franco’ (this being Part 12). This is also presented by Stephen Thrower as he travels across Europe to now-iconic shooting locations, this part featuring hidden-away areas of Paris most prominently. It’s simple, informative and effective. But arguably most significant on the disc is a feature which directly addresses the feeling of mourning which has hovered over every previous bit of testimony: the tragic car crash which lead to the death of Soledad Miranda at just age 27, while she was only partway through her planned collaborations with Franco. ‘Sublime Soledad’, presented by Amy Brown, serves as a poignant tribute. It’s tragic that Miranda never got to see any of these movies in the completed states which have become so beloved, but Brown puts it nicely that it’s apparent that she found this kind of work creatively gratifying. Her performances will live on. Finally, there’s a short and silly feature entitled ‘Jess is Yoda’ which I don’t want to spoil for everyone... but it’s hilarious, and quite enlightening. SHE KILLED IN ECSTASY What an insane film. Again, a rewatch for this critic, this picture is the far pricklier counter to the hypnotic tendencies of Vamyros Lesbos. She Killed in Ecstasy is a truly visceral watch, consisting of deeply disturbing sequences and genuine horror. It’s the strangest “revenge” movie out there. A medical man is discovered to be conducting experiments on unborn foetuses (Thrower amusingly describes them as “pickled foetuses” since we’re shown the disruptive imagery of them stored in jars accompanied by the funky opening credits) and is then outcast from his profession, leading the character to commit suicide. His lover (played incredibly by Miranda) then takes it upon herself to brutally murder everyone on the board who voted for his dismissal. I love this movie. Within the bonus features, it’s hilarious how conflicted Thrower is with the backwards moral implications of the film. His interview is ‘Ecstasy in Rage’ and is a great watch. It’s almost as if we are witnessing in real time Thrower attempt to make sense of what Jess was trying to say. He concludes that there’s a cognitive dissonance at play; Franco is depicting some of the most unsettling stuff but doing so in an almost glib and flippant manner, with suicide and murder being complemented by a fast-paced, comedic-sounding style of jazz. My interpretation is that the presentation of the film – and just how unapologetically it places us in the perspective of a ‘bad person’ – makes the story feel even more disturbing, and Franco’s style and experimentation all the more ideologically provocative. Other offerings on Disc 2 include another instalment of ‘In the Land of Franco’, another interview with Franco called ‘Jess Killed in Ecstasy’ (same setup as last time – in his old age, he’s still funny, horny and a genuine cinephile), as well as the same ‘Sublime Soledad’ video essay by Amy Brown. Also, on both this and the previous discs are the very entertaining German-language trailers. But one more touching feature is an interview with actor Paul Muller in his old age, who was a frequent Franco collaborator. He provides some amusing anecdotes about the director and his fascinating persona. I especially enjoyed how he highlighted Franco’s ultra-relaxed style of direction. There was never any script, and Franco would just allow the performers to act whenever they either did or didn’t feel like it – often getting just partway through the day, Jess would break for lunch and say, “we’ll continue tomorrow” (there are many similarities to Franco’s idol Jean-Luc Godard in this respect). To surmise, Severin has produced a comprehensive guide and appreciation of Franco’s work, with two of his most significant releases and creatively pure expressions. These discs were also far more emotionally involving and reflective than I was anticipating! And when reevaluating what Jess Franco did so well as a visual artist, one could argue that more cinema should be brave enough to offer a location or mood without the need for point B to follow on from point A. Franco’s worlds grow in the mind over time, crafting a place that you can revisit, be hypnotised by, and yet still not fully comprehend the reasons for its resonance.

Directed by: Rick Gomez Written by: Rick Gomez, Steve Zahn Starring: Ethan Hawke, Steve Zahn, Rosemarie DeWitt Film Review by: Holly Baker ★★★ She Dances (2025) is a touching comedy drama following a father and his teenage daughter as she comes of age. Jason, played by Steve Zahn, is empowered to reconnect with her daughter Clair, played by Audrey Clair Zahn whilst supporting her in her regional dance competition alongside her best friend Kat. The film starts as a road movie, with strong similarities to Little Miss Sunshine, as we see generational strains among the characters, with Jason attempting to find a common thread for them all to bond over. As Jason’s attempts to be relatable and command leadership and protection during their journey to and throughout the dance competition falter, he soon realises that another approach is needed for an authentic moment of connection to surface. Rick Gomez’s directorial debut feature includes incredible performances from the cast. Ethan Hawke’s wide array of work from Dead Poets Society to Black Phone demonstrates his extraordinary range, and his work in She Dances is a commendable addition to his discography. Hawke plays Brian, an estranged yet deeply caring friend of Jason, and their brotherhood is subtly poignant throughout the film as they work through their struggles, despite feeling held back by guilt and trauma. Viewers get a strong sense of Brian’s desire to get through to Jason, whilst his discomfort at the unfamiliar emotional landscape is visceral. The casting also refreshingly includes debut performances, most notably from Audrey Clair Zahn, who plays Clair brilliantly, highlighting the turmoil of girlhood comparably so to Saoirse Ronan’s astounding performance in Lady Bird. The film falters slightly in its slightly unengaging writing style. The tone bounces jarringly between solemnity in its dealing with grief, and comedic chaos when following Jason’s frantic actions, making it difficult for audiences to connect with the story’s ebbs and flows. This being said, the humorous moments themselves are entertaining, helped by the great acting, particularly from the child actors who bring a riveting joy to Jason’s sidequests along his journey. The film’s sadder moments do feel slightly disconnected, as whilst the characters’ expressiveness does convey a strong sense of their grief making the sense of loss extremely visceral, there is some narrative confusion as the film so often switches focus, meaning viewers may not feel as engaged with the key events which provide the backdrop to the story. She Dances Official Trailer The pacing and structure of the film feel slightly confused at times. There are several character dynamics that are developing at once, and the flow is often disoriented as the film floats between growing each relationship. The direction is perhaps flayed out where it is to spread its focus on too many plot lines, making for a sporadic viewing experience as we attempt to engage with each dynamic. Commendably, each sub-plot feels relevant and aptly moving, viewers may struggle to engage with the film as a whole with so many storylines happening at one. Overall, She Dances has a diverse and vibrantly committed cast, and a heartwarming message with a loving feel to it. Whilst the writing at times stunted, this is made up for through its animated characterisations, dedicated performances, and fantastic comedy. Audrey Clair Zahn appears to have a great career ahead of her demonstrated by her commendable talent here, as alongside well-established actors such as Zahn and Hawke, her skill stands out marvellously.

★★★★ Directed by: Thea Gajic Written by: Thea Gajic Starring: Slavko Sobin, Olive Gray Film Review by: Chris Olson This debut feature film from filmmaker Thea Gajic shows bold tenacity in delivering an unflinching glimpse into the world of trauma, addiction, and the human search for peace. In Surviving Earth , Slavko Sobin plays Vlad, a charismatic but troubled soul. A Yugoslav refugee living in Bristol, where he works as a counsellor for drug users. A former user himself, Vlad is slowly building a new life for himself as a harmonica player in a promising local band whilst also repairing and maintaining a fresh relationship with his daughter Maria (Olive Gray). This new chapter in his life, however, is as delicate as his treasured harmonica, with the various ordeals of his past threatening to upturn him at any point. Gajic shows herself to be a capable dramatic storyteller with Surviving Earth , delving deep into the grim reality of life as a former addict and how the person’s relationships become forever fragile. There’s an authenticity here that eschews the volatility that some addiction films promote, instead leaning heavily into the unpredictability of life and how this can derail a troubled person without much effort. Vlad’s precarious peace is in constant danger, whether it be from the council looking to get money from him for his vacant second bedroom (a controversial tax in the UK), or being in the presence of drugs and alcohol through his involvement in the Bristol music scene. It’s Vlad’s support network that plays the essential secondary character here, though, such as his anxious daughter who is constantly poised for her dad’s relapse, or his bandmates who enjoy a jovial banter in the most part but who are also musical comrades for life. The tone of the film is bleak and the grim urban landscape of Bristol does little to alleviate this. One saving grace is the music scenes, palpably injecting life into the piece and showcasing art’s ability to transcend life’s wretchedness. Vlad’s goal to put on a headlining show for his band gives him “something to look forward to”, one of the three parts of his mantra (the others being something to do and someone to love). This powerful life motto helps to better understand Vlad’s need for structure and order in his environment. This drive from the central character also allows for some comedic eccentricities to enter the frame, such as Vlad’s reluctance to use self-service checkouts or pay for things digitally. More of these lighter moments were needed to balance the otherwise disheartening atmosphere that envelopes the viewer during the movie. Thea Gajic utilizes the classic “Choose Life” poster from Trainspotting in Surviving Earth and that gives you a fair indication of the route from that 1996 classic to this 2025 tale. Whilst the former is an exciting cacophony of cinematic prowess, Gajic’s film is more understated, at times painstakingly patient, and deeply affecting.

Film Festival Feature by Chris Olson As we move into the spring season, the London cinematic calendar begins to fill with the kind of vibrant, independent spirit that defines the city's film culture. This year, one event in particular has caught my eye, and quite frankly, it is long overdue for a visit. One Fluid Night (OFN), the queer-led and volunteer-run international LGBTQIA+ film festival, is set to return to the capital for its seventh edition from 7 to 11 April 2026. While I have followed the festival’s growth from a distance—noting its expansion into an international edition in Paris—I have yet to experience an OFN programme in person. Looking at the line-up for the 2026 London leg, however, that is a streak I am eager to break. The sheer scale of this year’s curation is impressive, boasting 117 films from 31 different countries. This is not just a local gathering; it is a massive international exchange of queer storytelling that spans 13 feature films alongside a dense forest of shorts, documentaries, and experimental works. What strikes me most about the OFN ethos is its commitment to being an independent, "not-for-profit" space. In an industry often dominated by commercial interests and institutional gatekeeping, OFN has been built without institutional backing, relying instead on collective effort and community support. This year’s theme seems to lean heavily into the idea of the "unknown" and the "unseen," focusing on first-time and early-career filmmakers whose voices might otherwise be overlooked by mainstream platforms. The opening feature, The Consequences of Monsters  by UK director Craig Ford, sounds like a particularly bold choice. Described as a queer horror anthology, it explores identity through a dark, imaginative lens—a genre-bending approach that often provides the most fertile ground for subversive storytelling. It is paired with the opening short Bury Your Gays  by Charlotte Serena Cooper, a dark comedy that looks to dismantle the tired tropes that have historically limited queer characters on screen. The diversity of the feature selection is equally compelling. From the UK premiere of Unspoken , a German drama about a musician grappling with trauma and the loss of his voice, to the Brazilian film Not Every Love Story Ends in Death , which follows a deaf actress navigating the complexities of single motherhood and independence, the programme refuses to stay in one lane. There is even a dedicated "Underground & DIY" section for those of us who prefer our cinema raw and unconventional. Beyond the screen, the festival seems designed to foster genuine connection. The OFN MeetUp Hub in Soho will serve as a relaxed space for audiences and filmmakers to congregate before the evening screenings. As festival director Lex Melony poignantly noted, in a world where queer rights are increasingly challenged, these spaces of visibility and solidarity are more than just entertainment; they are a necessity. The festival will be spread across three distinct London venues: Courthouse Cinema in Oxford Circus, Arzner Cinema in Bermondsey, and BLOC Cinema in Mile End. It all culminates on 11 April with an awards ceremony at the Courthouse Hotel Cinema, where an international jury will hand out 22 awards, including the "Best Fluid Story" prize. If the quality of the films matches the ambition of the programming, this is shaping up to be a definitive highlight of the year. I, for one, am looking forward to finally showing up.

Film Feature by Chris Olson There are certain titles that arrive on the desk of an Editor-in-Chief that immediately demand attention through sheer, unadulterated audacity. When word reached UK Film Review that Peccadillo Pictures had secured the distribution rights for a project titled Lesbian Space Princess , it wasn't just the evocative name that raised eyebrows. It was the pedigree trailing behind it. Fresh from a triumphant world premiere at the Berlin International Film Festival—where it secured the prestigious Teddy Award—and an Audience Award win for Best Australian Feature at the Sydney Film Festival, this animated odyssey is landing in UK and Irish cinemas on 22nd May . The prospect of a "laugh-out-loud adventure through the far reaches of queer outer space" feels like a necessary shot of adrenaline. From what I have gathered, the film is the brainchild of South Australian writers and directors Leela Varghese and Emma Hough Hobbs. Their vision appears to be a riotous, candy-coloured subversion of the space-opera genre, swapping out stoic star-captains for a narrative rooted firmly in LGBTQIA+ identity and cultural diversity. The premise alone is a delight of high-concept comedy. We are introduced to Princess Saira, the introverted daughter of the flamboyant lesbian Queens of Planet Clitopolis. In a relatable twist of terrestrial drama, Saira’s life is upended when her bounty-hunter girlfriend, Kiki, dumps her for being "too needy." However, heartbreak takes a backseat to heroism when Kiki is kidnapped by the Straight White Maliens—a group of forgotten incels of the future. The ransom? Saira’s royal labrys, the most powerful weapon known to lesbian kind. The catch? Saira doesn’t actually have it. What follows is a race against time. With only twenty-four hours to retrieve the weapon and save her ex, Saira embarks on an "inter-gay-lactic" journey of self-discovery. Along the way, she reportedly encounters a problematic spaceship and forms a bond with a gay-pop runaway named Willow. It sounds like the kind of chaotic, heart-on-its-sleeve storytelling that animation was built for, and I am genuinely intrigued to see how Varghese and Hough Hobbs balance the satirical bite with what promises to be an earnest emotional core. The voice cast is equally impressive, suggesting a film that isn't afraid to lean into its comedic strengths while maintaining high production value. We have Shabana Azeez and Bernie Van Tiel leading the charge, supported by the likes of Gemma Chua Tran and the anarchic energy of the Aunty Donna troupe. Add to that the veteran presence of Richard Roxburgh, the wit of Jordan Raskopolous, and the charisma of Kween Kong, and you have a powerhouse of talent that suggests this is far more than a niche curiosity. At UK Film Review, we often champion emerging creatives who bring fresh perspectives to the screen. To see an animated comedy that so boldly embraces queer voices both on and off-screen is refreshing. It appears to be a film that isn't asking for permission to exist; it is simply blasting off into the stratosphere with its own rules. Whether it can maintain that "riotous joy" for its full runtime remains to be seen, but as we look toward the 22nd of May, I find myself remarkably eager to board this particular spaceship. Lesbian Space Princess Official Film Trailer

Film Feature by Chris Olson We all love the tingly feeling when the house lights go down, but at Secret Cinema, the magic starts long before you ever reach your seat. In fact, for those of us who have spent the last decade chasing coordinates to abandoned warehouses and secret locations across London, the "seat" is often the last thing on our minds. From the moment I donned my robes for Star Wars , or found myself swept up in the bohemian revolution of Moulin Rouge! , I have been a devoted disciple of this immersive revolution. Now, it seems the nomadic days of our favourite cinematic subculture may be coming to an end—in the best possible way. Secret Cinema has officially set its sights on a permanent flagship home on the Greenwich Peninsula. For those of us who have braved the elements and the mystery of "where on earth are we going tonight?", the prospect of a long-term base by the Thames is nothing short of a game-changer for the UK film scene. Having attended some of their most iconic runs—most notably the sprawling Back to the Future  Hill Valley build and the high-stakes glamour of the James Bond  Casino Royale event—I’ve seen firsthand how these productions have outgrown the temporary nature of pop-up culture. The ambition has always been gargantuan. I remember the sheer scale of the Star Wars  event, where the line between audience member and Rebel pilot became delightfully blurred. To think what the team could achieve with a ten-year residency is genuinely spine-tingling. The proposed site on the Greenwich Peninsula, earmarked for development in the future but available for a decade-long stint, offers a stable canvas for the kind of world-building that Secret Cinema pioneered. Merritt Baer, the artistic director, has noted that Greenwich is the perfect location for their flagship home. I couldn't agree more. There is something about the industrial, expansive skyline of the Peninsula that feels like it’s waiting to be transformed into a dystopian cityscape or a period-correct dreamscape. For a film critic, the evolution of how we consume stories is paramount. We are moving beyond the passive experience of the multiplex. When I was at the James Bond  event, I wasn't just watching 007; I was navigating a web of espionage, ducking into corners to exchange intel, and feeling the literal heat of the action. This move to Greenwich suggests a commitment to "lasting memories and epic experiences" that temporary installations sometimes struggle to sustain. The local impact cannot be understated either. Working with local businesses and partners in Greenwich will ground these fantastical worlds in a real-world community. While the venue is still subject to planning permission, the energy surrounding the announcement is palpable. For fans like myself, who have followed the brand for eighteen years, this feels like a homecoming. As we look toward the end of the year for a potential opening, one can only wonder which world they will choose to build first in their new home. Whether we are heading back to the future or off to a galaxy far, far away, one thing is certain: the Peninsula is about to become the most exciting cinema ticket in town. Expect to see me there, in costume, ready to lose myself in the stars once again.

Star Rating: 2/5 Directed by: Nick Butler Written by: Nick Butler Starring: Noah Parker, Douglas Smith Film Review by: William Curzon Lunar Sway follows Cliff (Noah Parker), a young man living in a desert town called Mooncrest, as he struggles with his sexuality and unexpectedly connects with his estranged birth mother. After learning of his mother’s numerous secrets, he embarks on a wild adventure and a trail of secrets, while also spending time with his love interest, Stew (Douglas Smith). The piece is a coming-of-age story about self-discovery and seeking longing in a world that has treated you harshly your whole life.  The pace of the film is intentionally meandering to establish the litany of characters and setting of Mooncrest, while also setting up the central adventure Cliff is set on. Unfortunately, the pacing is beneficial during the opening of the piece. However, it becomes a detriment to the latter half, as the experience amounts to fairly minor events. While the approach to taking its time to establish Cliff and the relationship sparking with his estranged birth mother is admirable, the payoff feels incredibly underwhelming due to its prolonged setup. That being said, there is still plenty to admire about the piece from a technical standpoint. Firstly, cinematographer Dmitry Lopatin’s camerawork is enthralling, with its consistent use of wide shots presenting the expanse of the desert town. The use of close-ups is also admirable during the more intimate moments Cliff shares with his lover, Stew, and his mother.  The surreal sequences that take place within Cliff’s imagination are stunning and further enrich this characterisation, accompanied by composers Adrian Ellis and Walker Grimshaw’s hypnotic and understated musical score. Despite the film's budget constraints, these sequences are one of the standouts of the experience. The script, however, could have delved more into Cliff’s past and his further ambitions beyond his struggles with his sexuality. While the themes of self-discovery and experimentation of queer identity are briefly explored, an added context of his personality would have made his characterisation more compelling to witness.  The central performance from Noah Parker in his portrayal of Cliff is mostly admirable as he conveys a myriad of nuances whilst trying to piece together his mother’s secrets and his relationship with Stew, portrayed wonderfully by Douglas Smith. However, the standout of this ensemble is Grace Glowicki in her portrayal of Bailey, as her character’s actions catalyse the conflict during the second half of the runtime. While the film takes a while to get going, the second half is ultimately the most compelling when the adventure and mystery elements are introduced, and the viewer is forced to piece together the narrative threads. The sprawling misadventure approach is commendable; however, the piece meanders to a grinding halt in its conclusion, which is the most frustrating aspect of the experience. This is mainly due to a bizarre tonal shift that doesn't entirely land, and the mystery elements amount to minor efforts to further flesh out Cliff’s character development. Lunar Sway is a strange and surreal experience that unfortunately doesn't entirely work. While the piece presents interesting ideas and tackles universal themes, such as queer identity, its execution sadly falters due to sluggish pacing, ultimately yielding little in its conclusion.  Lunar Sway premiered at BFI Flare on March 22, 2026.

Star rating: 5/5 Writer: Jacob Dudman Director: Lidia Huerta Starring: Jacob Dudman Untethered is a striking short drama inspired by the experiences of victims of modern slavery in the UK. Starring Jacob Dudman in the role of a trafficked man, from Europe to the UK, Untethered presents us with our main character while he is on the run in God’s Own Country, as he affectionately refers to Yorkshire like the locals do. He is in a living hell: he has no home, no cash and no phone- and of course no bank account. Amongst a breathtakingly beautiful winter landscape of a rural village, all he has to remind him of his identity and even the fact he is alive is a picture with his mother taken in his childhood. Directed by Lidia Huerta, Untethered is documentary-like in its narrative and pace (the script consists of the character’s thoughts in the form of a letter to his mother), but also visually. Showcasing quintessential English landscapers, including a rural street corner with a post box and telephone box, it contains a great mixture of intimate close ups, moving shots, over-the-shoulders and extreme wide shots. Much like we sometimes see in documentary stories, we witness the kindness of strangers, in this case from a female shopkeeper- which in many ways is the only thing keeping our character alive, and is in deep, sharp contrast to the criminality of which he has been a victim. Also in keeping with this nod to documentary films, the viewer is given some shocking figures about the pervasiveness of modern slavery in the UK currently. This absolutely does, as the filmmakers wish, make the viewer reflect on what it means to be marginalised and what it does to a person’s entire being to be de-humanised in such a way. ‘Just because I breathe, it doesn’t mean I am alive’, our main character explains as he tries to ground himself while living in constant fear the people who enslaved him will find him again. This is a phrase that reflects a common feeling among victims of the most serious crimes, as if their life has been almost literally taken from them. This feeling drives our character to the very edge, as it has done many victims of modern slavery. Untethered is a story about not merely survival, but how to try to recapture ‘the feeling of being alive’, and holding on to it, against all odds.

Film Festival Feature by Chris Olson While those of us stationed in the UK often have to experience the South by Southwest (SXSW) Film & TV Festival through the frantic dispatches of our peers and the early morning refreshes of awards lists, the 2026 edition feels especially resonant. As Claudette Godfrey, VP of Film & TV, aptly noted during the ceremony on 18 March, the world has felt heavy of late. Yet, the cinematic output gathered in the Lone Star State suggests that filmmakers are not merely reflecting that weight, but finding ingenious, heartfelt, and often hilariously absurd ways to lift it. The 2026 jury winners represent a formidable cross-section of global talent, proving that independent cinema remains the lifeblood of the industry. From high-concept narratives to intimate documentaries, the awards this year highlight a yearning for connection in an increasingly fragmented digital age. Narrative and Documentary Highlights In the Narrative Feature Competition , the top prize went to Graham Parkes for Wishful Thinking . Described by the jury as a "wild and surprisingly poignant ride," the film explores a connection between a couple whose energy has literally combustible consequences for the world around them. It is exactly the kind of genre-bending "dramedy" that SXSW thrives on—a film that grounds its high-concept stakes in the messy reality of human relationships. Wishful Thinking - Credit: Christopher Ripley Accompanying this win were standout recognitions for performance and writing. Susan Kent  took home the Special Jury Award for Performance for her turn in The Snake . By all accounts, Kent delivers a "masterclass" as a "wild child" attempting to navigate the debris of a lifetime of poor decisions. Meanwhile, the screenwriting prize was awarded to the collaborative team behind Plantman & Blondie: A Dress Up Gang Film . A caper comedy that tackles the crisis of social isolation with "super silly" sincerity, it also managed to bag the inaugural Green Lens Award  for its creative reflection on our responsibility to the natural world. Plantman & Blondie: A Dress Up Gang Film Over in the Documentary Feature Competition , Ayden Mayeri’s Summer 2000: The X-Cetra Story  secured the grand prize. The film is a nostalgic yet thorny exploration of childhood creativity and the erosion of bonds over time. It is joined in the winners’ circle by Matty Wishnow’s The Last Critic , a film that feels particularly close to our hearts at UK Film Review. A celebration of a long-lived career in music and media criticism, it serves as a "wistful memory of old New York" and a defense of a vibrant, essential art form. The Short Film Frontier: Eructation and Forcefield of Love While the features often grab the headlines, the short film categories at SXSW are frequently where the most daring aesthetic leaps occur. This year is no exception, and while I have yet to sit down with these projects myself, the buzz coming from my colleagues at UK Film Review has been impossible to ignore. Two films, in particular, have been reviewed by our team on the ground. The first is Eructation , directed by Victoria Trow, which earned a Special Jury Award in the Documentary Short Competition. One of our critics praised its "original and absurd concept". It is heartening to see the jury reward "sonic curiosity" and ambition in such an unconventional package. Forcefield of Love Film The second title making waves is Forcefield of Love , directed by Liz Moskowitz and Riley Engemoen, which triumphed in the Texas Short Competition . My colleagues have praised it as "a real testament to the genre, as well as its inspiring protagonists". To win in a category as competitive as the Texas Shorts requires a specific kind of soulfulness, and by all accounts, this film possesses it in spades. Innovation in Animation and Midnight Shorts Innovation remained a key theme in the Animated Short Competition , where the legendary Don Hertzfeldt returned to the winner’s circle with Paper Trail . Using the conceit of a "blank page," Hertzfeldt follows a protagonist’s growth through a lifetime of scribbles. It is, according to the jury, a visceral and emotional journey that transports the audience into their own memories. Tongue SXSW 2026 For those who prefer their cinema with a side of adrenaline and unease, the Midnight Shorts  delivered. Lim Da seul’s Tongue  won the top prize for its satirical take on a wife suffering under a "mansplaining" husband—a silent performance backed by meticulous sound design. Not to be outdone in the "audacity" department, Emily Lawson’s Man Eating Pussy  received a Special Jury Award for its "lowbrow provocation and high-art sophistication." It is exactly the kind of unapologetic, bold vision that defines the "Midnight" experience. TV, XR, and Special Honours The festival’s expansion into TV and immersive media continues to yield fascinating results. In My Blood , showrun by Alex Bendo, took the Independent TV Pilot  award for its "genre-bending" look at the pursuit of perfection. In the realm of XR Experience , Body Proxy  by Danny Cannizzaro and Samantha Gorman won for its innovative use of AI in storytelling—a topic that remains at the forefront of industry discourse. Several special awards also highlighted the humanitarian and "auteur" spirits of the festival: Agog Immersive Impact Award:   A Long Goodbye , a VR project exploring the intimacy and tenderness of living with dementia. NEON Auteur Award:   The Peril at Pincer Point , directed by Jake Kuhn and Noah Stratton-Twine, celebrated as a "quixotic and singular" discovery. Redbreast Unhidden Award:   We Were Here , directed by Pranav Bhasin, for its clever perspective on the infiltration of technology into our daily lives. As the jury awards conclude, the focus shifts to the Audience Awards , which are currently being tallied by Maxwell Locke & Ritter. These results, often the most reliable bellwether for a film’s future commercial success, will be announced later this week. The 2026 SXSW Film & TV Festival has proven that despite the "heavy" state of the world, the urge to gather in a dark room and share stories remains undiminished. From the "wild child" antics of The Snake  to the "sonic curiosity" of Eructation , the winners this year represent a cinema that is loud, proud, and deeply human. We look forward to seeing these titles make their way across the Atlantic to UK screens in the coming months.