Film Festival Feature by Callum Ewing and James Learoyd Best Film I felt fortunate to see so many good and excellent films at LFF 2026, making it difficult to choose a favourite. My pick, however, was the 2nd film I watched: Martin McDonagh’s Wild Horse Nine. Wild Horse Nine Official Film Trailer McDonagh is one of my favourite writer-directors for his sharp comic dialogue and ability to reveal his characters’ vulnerability. Here, Sam Rockwell and John Malkovich play CIA agents transferred to Easter Island against the backdrop of the 1973 Chilean coup. The film features McDonagh’s trademark quotable one-liners and carefully crafted comic payoffs, but a deep melancholy underpins the humour as the characters reflect on their pasts and contemplate death. Malkovich is particularly impressive, delivering a performance that surely deserves a Best Actor nomination. His often subtle acting provides an emotional anchor amid the film’s pace and chaos, balancing effortless comic delivery with vulnerability. Filmed on Easter Island, it is also one of McDonagh’s most beautifully shot works. Despite a few minor flaws, I highly recommend seeing it when it opens in cinemas on 6th November. Honourable mentions go to Godzilla Minus Zero, Artificial and Primetime. All of a Sudden is James’ pick for best film at LFF. The latest from Japanese auteur Ryusuke Hamaguchi is one of the most moving cinema experiences you’ll have all year. Tragic and life-affirming in equal measure, the piece’s unique outlook on relationships and modern society is one to examine and treasure. It places, at its centre, two characters whose philosophies are certainly different, and yet whose values and loves are perfectly aligned. Clocking in at over three hours, you would suspect this a slow or challenging watch. Far from it: it’s a perfectly paced, elegantly structured work from Hamaguchi – and for my money, his best film to date. You can read my review on the website to know more about what I loved about the movie! Other honourable mentions for best film should go to The Devils, Paper Tiger and The History of Concrete. Most Disappointing Fortunately, I saw no bad films at LFF, but Danny Boyle’s Ink was my most disappointing. Although I thoroughly enjoyed it, I would not rank it among his best: some unusual creative choices undermine the film. It follows the creation of The Sun newspaper, with Boyle’s characteristic kinetic direction and fast-paced editing. Ink Official Film Trailer Jack O’Connell is brilliant as its new editor, Larry Lamb, as is Guy Pearce as Rupert Murdoch. However, the film struggles to slow down and explore the story’s moral questions, particularly The Sun’s damaging impact on journalism and society. Its use of generative AI is also distractingly poor and entirely unnecessary. For James’ worst or most disappointing of the London Film Festival, my comments are of a more general nature. There’s no one film to pinpoint as being disastrously bad – and I’d like to think that some of this is due to my choice in viewing (prioritising directors I care about, or small, independent movies whose descriptions pique my interest). I’ll mention that Artificial and I Love Boosters are the two most popular films that, whilst I enjoyed them for the most part, fail in certain areas for me; two examples of well-crafted movies with intelligent ideas that leave something to be desired in terms of overall structure or precision of tone. There were one or two low-budget, independent works that I saw, films that were far worse than the two I’ve mentioned – yet there’s little-to-no point in negatively highlighting things more modest in scale. And either way, I’ve found something to admire in everything I’ve seen at this year’s festival, without exception. Most Overlooked James Gray’s Paper Tiger is a fantastic film that deserves more attention. Featuring strong performances from Miles Teller, Scarlett Johansson, and especially Adam Driver, it follows a suburban middle-class family whose involvement with the Russian mafia spirals out of control. Driver plays Gary, an ex-cop and brother to Teller’s character, while Johansson plays Teller’s wife. Driver is magnetic, balancing strength with vulnerability, and Teller delivers one of the most mature performances I have seen from him. Beautifully shot, the film’s textured grain, costumes, and production design vividly evoke its 1980s setting. Action is sparse, but its two action scenes are magnificently filmed. Weaknesses in the script and Johansson’s character keep it from being one of my favourites of the year, but it deserves more appreciation when it opens in February. An honourable mention goes to Tony Gilroy’s Behemoth!, which might divide audiences when it comes out in December. For me, I admired and liked it but did not love it. James’ pick for most overlooked film is a draw between Iron Boy and Mouse. My morning screening of Iron Boy felt quite transformative and was, to my shock and delight, the film with the most enthusiastic applause I heard all festival. Part of the reason, I’m sure, was because nobody knew anything about this movie going into it, and yet were blessed with a stunning, carefully crafted work of art. This French animation is a true gem and not one to miss. Mouse – recommended to me by Isabel Moir who also conducted the in-person Q&A at the screening I attended – tells a deeply tragic coming-of-age story, anchored by some achingly vulnerable performances from Sophie Okonedo and Katherine Mallen Kupferer. Both are the exact kinds of films you yearn to discover when heading to a festival. Films that are personal and hand-crafted. Both brought me to tears multiple times.

Directed by: David Nicholas Wilkinson Written by: David Nicholas Wilkinson, Emily’s Price Starring: James Van Der Beek, Chadwick Boseman, Miriam Margolyes Film Review by: Holly Baker 1 in 2 (2026) is a feature-length documentary written and directed by David Nicholas Wilkinson. The film follows Wilkinson’s, along with several other subjects’, journey of living through bowel cancer treatment, particularly undergoing chemotherapy. Made up of several interview clips along with segments of Wilkinson speaking to the camera, both whilst receiving treatment and during his alone time, the film laments the severe difficulties that patients with bowel cancer face. There is no shying away from the details of the disease, such as the disastrous impact on mental health that treatments such as stomas can have, as well as the physical impacts of having bowel troubles and how this gets in the way of daily life. Viewers will feel engagingly informed about the realities of cancer, which will likely affect either them or a loved one, as more and more people continue to be diagnosed. As with any disease, bowel cancer begins with diagnosis. Wilkinson, along with the other interviewees featured in the documentary, takes extra care to highlight how difficult a bowel cancer diagnosis is to obtain. Patients’ tumours often go unnoticed for a long period of time, due to the NHS guidelines which are followed by GPs. Through portraying patients’ experiences of misdiagnosis and late diagnosis which severely impacted their chances of having a longer lifespan, the documentary does a neat job of not blaming any individual or organisation, keeping the focus on the work that is being done to make diagnoses more accurate. By including such an intimate perspective, the documentary has its difficult moments. Viewers are given an insight into some graphic descriptions and images of people suffering from bowel cancer. These are very important representations for such a personal and visceral disease, and are incredibly interesting for those wanting to learn more. The harsh aspects of dealing with the illness are the main topic of the documentary, particularly in relation to patients' mortality. However, there is light shown in the wholesome, community aspects of the disease. The documentary informs viewers of the groups of people who have found each other through their common factor of having bowel cancer. These people express the way that getting to share the graphic aspects of their treatment made them feel a lot less alone when dealing with it. As well as this, the documentary shows the way that community projects can change individuals ' perspectives on aspects of treatment, such as a stoma. Stomas are often seen as disgusting and as a burden to deal with; however, the documentary poses the idea that the stoma is a signifier of life, as they often extend that of those who have one. 1 in 2 official film trailer There is an interesting incorporation of lightheartedness and comedy in the documentary which Wilkinson navigates well. Wilkinson’s interactions with nurses and doctors are shown authentically and lovingly, we witness him making jokes with them and speaking to the staff on a friendly level which is lovely to see. As well as this, viewers are given such a close-up view of his everyday life, we witness what is happening in his body as he explains it in real time to the camera. Wilkinson finds himself in various uncomfortable scenarios which can be nightmarish to imagine, however, he seems to find humour in the bizarreness of these situations. This importantly highlights the humanity in those not only suffering from the illness, but also the treatment system, placing cancer and the world of cancer treatment within the normal, relatable world as viewers see recognisable kinds of people who are involved in treatments every day. The subjects in the documentary are from all walks of life, older, younger, famous, etc. There is also a big focus on the way that the illness not only affects the patient, but also their family, such as the children of a mother who is unable to properly take care of them due to the excessive fatigue she deals with. This importantly brings attention to the way that cancer can affect anyone, and conveys the film’s strong message of encouraging viewers to take tests so that tumours are found sooner rather than later. 1 In 2 will be in UK Cinemas from 13th November 2026.

Filmmaker Interview by Chris Olson Thanks for speaking with UK Film Review. For those who don't know you, please can you let our readers know a bit more about you and your filmmaking background? My name is Alex Devlin, I'm 25 years old, and I'm the founder and CEO of Devine Animation Studios, a small independent animation studio based in Oban, Scotland. I founded the studio in January 2023, at the age of just 22, with the ambition of bringing back the charm of traditional 2D animation and the classic cartoon humour that so many of us grew up loving. Since then, the studio has grown to a team of 19 talented individuals, consisting of both volunteers and paid staff, all working towards bringing our creative visions to life. We're currently in production on our very first animated short film, Waldo VS The Polar King, which we're aiming to release in late 2027. My long-term ambition is to establish Devine Animation Studios as a recognised name in independent animation, creating original stories, memorable characters, and entertaining films that audiences of all ages can enjoy. We are big fans of animation! How would you describe Waldo VS The Polar King to a new audience? Waldo VS The Polar King is an upcoming traditionally animated comedy-adventure featuring our studio's mascot, Waldo, a flying mouse, alongside his best friend and trusty sidekick, Nick Nash, a bandicoot. The story follows Waldo as he's unexpectedly sucked into his television and transported into the world of a 1950s TV series. What initially seems like an extraordinary adventure quickly takes a dangerous turn when Waldo encounters Willow, a weasel who finds herself threatened by the villainous Polar King, a powerful ruler capable of wielding lightning. Trapped in this strange television world, Waldo must find a way to save Willow, survive the Polar King's wrath and, ultimately, make it back home. The short is our love letter to classic cartoons, combining traditional 2D animation, colourful characters, slapstick humour and an imaginative adventure that we hope audiences of all ages will enjoy. Why did you want to make this film? I've always been a sucker for old-school cartoons, particularly the classic Looney Tunes shorts and the works of legendary animators such as Tex Avery and Ub Iwerks, as well as characters like Oswald the Lucky Rabbit and Felix the Cat. There's something incredibly special about those early cartoons. They were imaginative, unpredictable, wonderfully chaotic, and, most importantly, they weren't afraid to be completely ridiculous. That's something I feel we don't see nearly enough of in mainstream animation today. I wanted to make Waldo VS The Polar King because I genuinely believe there's still an audience for that kind of traditional cartoon humour. I miss the exaggerated expressions, the slapstick comedy, the larger-than-life personalities and the sheer zaniness that made those classic shorts so memorable. I also feel that the animation industry has become increasingly dominated by major corporations, with acquisitions, familiar franchises and commercial expectations sometimes making it harder for smaller, independent voices to be heard. Waldo & Nick Nash clip from Devine Animation Studios That's one of the reasons I founded Devine Animation Studios. I want to help create a space where originality, artistic freedom and creativity are encouraged rather than restricted. At Devine, we've already mapped out five waves of potential projects, including original films, television series and animated shorts, each with their own characters, stories and worlds. I don't want our studio to become known for producing the same kind of animation over and over again. I want us to experiment, take creative risks and give audiences something different. Ultimately, Waldo VS The Polar King is our way of celebrating the cartoons that inspired us while introducing that style of humour and storytelling to a new generation. We're not trying to replace modern animation. We simply want to bring back something we feel has been missing from it. Sounds great! Were there any challenges making the film? If so, what were they and how did you overcome them? Well, believe it or not, one of our biggest challenges was actually finding animators! (Laughs). When I founded Devine Animation Studios in 2023, I quickly discovered just how difficult it can be to produce an animated film independently, particularly when you're working with a limited budget. The studio has been entirely self-funded by me, which naturally comes with its own challenges, especially when you're trying to assemble a talented team and produce something you're genuinely proud of. Waldo & Oswald's Grand Adventure | Kickstarter Campaign Another challenge was deciding what our first production would actually be. Over the years, we explored several different projects and ideas, but for various reasons, we kept changing direction. Eventually, we settled on Waldo VS The Polar King, which I believe was the right decision for our first short film. Fortunately, after a lot of searching and perseverance, we managed to assemble a small team of animators who will help bring Waldo and his world to life. We've now completed the script, concept artwork, storyboards and voice recordings, and we're preparing to begin the animation process. It's incredibly exciting to finally see everything coming together after years of planning and development. As for overcoming challenges, I've always believed that communication is one of the most important aspects of running a successful studio. Whenever we encounter a problem, I try to be open with my team about it. Rather than making every decision behind closed doors, I prefer to arrange meetings where everyone has an opportunity to share their thoughts, suggest solutions and contribute their ideas. I think one of the biggest mistakes a company can make is failing to listen, whether that's to its employees or its audience. It's something I feel larger corporations can sometimes struggle with, and it's something I'm determined to avoid at Devine Animation Studios. I don't want our studio to feel like a workplace where everyone simply follows orders. I want us to feel like one big family, where every individual knows their voice matters and their creativity is valued. Ultimately, I believe that when you surround yourself with passionate, talented people and genuinely listen to them, even the biggest challenges become much easier to overcome. That sounds like a great ethos. What stage is the film currently in? And how can people get to see it? Waldo VS The Polar King is currently transitioning from pre-production into the animation stage, which is incredibly exciting for us! We've completed the script, character designs, storyboards and voice recordings, and we're now preparing to bring everything to life through animation. It's been a long journey getting to this point, so we're really looking forward to seeing our characters finally moving on screen. We're currently aiming for a release around November 2027, although, as an independent animation studio, we understand that production schedules can sometimes change. Our priority is to make sure the finished film meets our creative vision, rather than rushing it to meet a particular deadline. As for where people can watch it, we're planning to make the short available to watch for free on YouTube, and we're also hoping to release it through Amazon Prime Video, subject to distribution availability. At the moment, we don't have any plans to enter the film into festivals, although that's certainly something we could consider in the future. Ultimately, we want Waldo VS The Polar King to be accessible to as many people as possible, and we can't wait to share it with audiences! Why do you make movies? Well, for me, that's like asking why I breathe! (Laughs). I've always had an incredibly active imagination. Every day, I find myself coming up with new stories, characters and worlds, and thankfully, it's something that has always come quite naturally to me. I genuinely couldn't imagine my life without storytelling. I'm also a massive film enthusiast. I've currently rated over 1,400 films on Letterboxd, ranging from the earliest days of cinema to modern releases. I've always been fascinated by the power of film and how a story can make someone laugh, cry, think, or even change the way they look at the world. Ever since I was 12 years old, I've dreamed of running my own animation studio, creating animated films and bringing my own stories and characters to life. It's something I've wanted for as long as I can remember, and founding Devine Animation Studios was my first real step towards making that childhood dream a reality. One of my biggest ambitions is to create entertainment that doesn't talk down to children but instead treats them as equals. I think children are often underestimated when it comes to their intelligence and emotional understanding. Too many productions aimed at younger audiences rely on the same predictable jokes, but children are capable of appreciating so much more than that. I want our films to entertain audiences while also exploring meaningful subjects. Whether that's grief, loneliness, feeling different, anxiety, abandonment or simply finding your place in the world, I believe animation is an incredibly powerful medium for telling those stories. For example, I'd love to tell stories about learning to live with the loss of someone you love. Not forgetting that person, but understanding that moving forward doesn't mean leaving their memory behind. I think those are important messages for children and adults alike. Another thing that inspired me to pursue filmmaking was a simple saying: "If you can't find what you're looking for, why not make it yourself?" I've always loved original storytelling, and one of my frustrations with the modern film industry is its increasing reliance on sequels, remakes, reboots, and spin-offs. It sometimes feels as though every successful original film immediately becomes the beginning of another franchise. Now, don't get me wrong, I have nothing against sequels or remakes when there's a genuinely worthwhile story to tell. Some of my favourite films have sequels! But I don't believe a film should receive a sequel simply because the original was financially successful. At Devine Animation Studios, our priority is creating original stories, characters and worlds. We're not completely opposed to revisiting an existing story, but we'd only want to do so if we believed there was something meaningful left to explore. I've always admired Walt Disney and the pioneering spirit of the early animation industry. Those filmmakers weren't afraid to experiment, take risks or attempt something audiences had never seen before. That's the kind of creative ambition I want to encourage at Devine. Ultimately, I make films because I love telling stories. I love the idea that something which began as a simple thought in my imagination could one day make somebody laugh, bring them comfort during a difficult time or stay with them for the rest of their life. And if even one of our films manages to do that for somebody, then I'll consider that a success. What advice would you give to someone just starting out in the film career you have pursued? Well, I think the biggest lesson I've learned, and one I'm still trying to grasp myself, is patience! Now, I'll be the first to admit that I'm not always the most patient person when it comes to filmmaking. I get incredibly excited about my ideas, and when I have a story in my head, I want to see it brought to life as quickly as possible. But filmmaking doesn't work like that, especially animation. When I first started out, I'd hold auditions for writers, voice actors, animators, and artists, without fully appreciating just how much each stage of production depended on the one before it. For example, a writer might need to complete four drafts of a screenplay before it's ready. Then the artists need time to develop the characters and produce the concept artwork and storyboards. Voice actors need to understand their characters, and animators need the necessary artwork, dialogue, and other production materials before they can properly begin their work. It's a bit like building a snowman, really. You start with all these separate pieces, and individually they might not look like much, but once you bring everything together, you've created something special. That's one of the biggest things I've learned about filmmaking. You can't rush creativity, and you certainly can't expect everyone to work at the same pace. Sometimes you simply have to trust the process and the people you've brought on board. Strangely enough, patience is something I had already learned quite a lot about in my personal life, although under very different circumstances. When I was around nine years old, my dad was diagnosed with multiple sclerosis (MS). As I grew older, I gradually took on more responsibilities helping to care for him. At first, it was little things, helping him with the television, fetching his tea or bringing him dinner. But as his condition worsened, he began losing the ability to walk, and there were times when I had to help lift him after he'd fallen, sometimes entirely by myself. Eventually, he became bedridden, and he passed away when I was 18. And believe me, looking after that man certainly taught me a thing or two about patience! (Laughs) But there's something else from that experience that has stayed with me, and I think it's probably one of the most important lessons I could share with anyone pursuing a creative career. Before I founded Devine Animation Studios, I actually ran a small software business that I'd started when I was just 13 years old. I developed mobile applications, and at the time of my dad's passing, I was trying to balance that business with college and everything happening at home. For years, I'd never told my dad about the business. I suppose I was worried he'd react the same way some other people had, asking whether I was making any money and losing interest if the answer was no. But a few weeks before he died, I finally told him. And his reaction was something I'll never forget. His face absolutely lit up. He started asking me all sorts of questions about the business, what I was doing and what I hoped to achieve. By that point, his health had deteriorated considerably. He'd suffered numerous infections that had affected his memory and his ability to think clearly, but despite all that, he remembered my business. He kept taking an interest in it. I think, in his own way, he was relieved to know that I had ambitions for my future and that perhaps one day I'd be in a position to help support the family. After he passed away, I pushed myself incredibly hard to keep developing applications and pursuing my ambitions. I think part of me wanted to prove that his belief in me hadn't been misplaced. And that's something I'd say to anyone who's just starting out in filmmaking, or any creative industry for that matter. Don't measure your success entirely by how much money you're making, how quickly you're progressing, or whether other people understand what you're trying to achieve. Be patient with yourself. Be patient with the people you work with. Listen to them, learn from your mistakes, and understand that creating something worthwhile takes time. And most importantly, don't give up on something you genuinely believe in simply because somebody else can't see its potential. You might spend years working towards a dream that other people don't understand, but that doesn't mean it isn't worth pursuing. I'm still learning myself. Devine Animation Studios is a young company, and we've got a very long way to go before we achieve everything I've envisioned. But I think that's part of the excitement. Every challenge teaches you something, every setback gives you an opportunity to improve, and every little achievement brings you one step closer to where you want to be. So, if I had to sum up my advice, it would be this: be patient, believe in what you're creating and surround yourself with people who believe in it too. Because sometimes, all it takes is one person believing in you to make you believe in yourself a little more. Who would you love to work with and why? Wow! That's a great question, and there are so many people I'd absolutely love to work with! If we're talking about actors from any period in cinema history, my number one choice would have to be Robin Williams. I've always considered him one of the greatest actors to ever live, simply because of how incredibly versatile he was. He could have you crying with laughter one minute and absolutely heartbroken the next. Whether it was his hilarious performance as the Genie in Aladdin, his emotional performance in Good Will Hunting, or his incredible work in Awakenings, he had this extraordinary ability to make you feel something. I think that's what made him so special. He wasn't just a comedian or a dramatic actor; he was a storyteller who could do practically anything. I would have absolutely loved the opportunity to work with him. As for filmmakers who are still with us, Steven Spielberg would definitely be near the top of my list. He's been involved in so many films that I absolutely adore, including The Goonies, Back to the Future, Gremlins, Empire of the Sun, and A.I. Artificial Intelligence. I admire his ability to balance spectacle, adventure, and genuine human emotion. He can make you feel like a child discovering the magic of cinema for the first time, and then turn around and absolutely break your heart! There are plenty of actors I'd love to work with too, including Adam Sandler, Tom Holland and Brendan Fraser. They're all incredibly talented performers who can bring something special to a character. But here's the interesting thing: as much as I'd love to work with those big names, I'm actually far more interested in discovering new talent. I'd love Devine Animation Studios to become a place where undiscovered actors, independent performers and professional voice actors are given opportunities they might otherwise struggle to find. Everyone has to start somewhere, after all. Even the biggest names in Hollywood were once unknown performers hoping somebody would give them a chance. One thing I've noticed about modern animated films is how heavily some productions rely on celebrity casting. Robin Williams' unforgettable performance as the Genie in Aladdin helped change the way Hollywood approached celebrity voice casting, and since then, having recognisable names attached to animated films has become an increasingly common marketing strategy. Now, don't get me wrong, there are some absolutely phenomenal performances from Hollywood actors in animation, and I certainly wouldn't turn down a talented celebrity simply because they're famous! (Laughs) But I don't believe a recognisable name automatically makes someone the right choice for a character. Sometimes, the perfect voice belongs to somebody you've never heard of. That's why I believe casting should always come down to talent, suitability and the ability to bring a character to life, rather than how many millions of followers somebody has or how recognisable their name is. I'd much rather discover an incredibly talented unknown voice actor and give them their first major opportunity than hire a famous actor simply for the publicity. And who knows? Maybe one day somebody will look back at a Devine Animation Studios production and say, "That's where that actor got their big break!" I think that would be something pretty special. What's next for you in your career after this film? Well, Waldo VS The Polar King is really just the beginning of what we have planned for Devine Animation Studios! We've already got several other animated shorts in development, some of which we're hoping to release throughout 2027. We're constantly developing new stories, characters, and worlds, so there's certainly no shortage of ideas keeping us busy! (Laughs) We're also developing an original fantasy television series, which I'm particularly excited about. Unfortunately, I can't reveal too much about it just yet, but we're currently envisioning a first season consisting of approximately eight episodes, each running for around 20 minutes. The series will follow a princess living in a magical world filled with mysterious creatures and monsters. We're currently aiming for a 12 age rating, although that could change as the project develops. That's about all I can reveal for now, but I'm really looking forward to sharing more about it when the time is right! Looking further ahead, we also have several feature-length animated films planned. However, one of the realities of running a small, entirely self-funded independent studio is that our ambitions can sometimes be bigger than our current budget. Producing a feature film requires a significant financial investment, and at this stage, it's simply not something we can afford to undertake without additional funding or outside investors. But that's certainly not going to stop us from working towards it! My goal is to continue building Devine Animation Studios through our short films and television projects, gradually expanding our audience, developing our team, and hopefully attracting the investment needed to bring our larger productions to life. Ultimately, I don't want Waldo VS The Polar King to be the film people remember us for and nothing else. I want it to be the film people look back on years from now and say, "That's where it all began." We've got plenty of stories left to tell, and we're only just getting started! Find out more about Devine Animation Studios on their website - https://www.devineanimation.co.uk/

Directed by: James Denton, Richard Oakes Written by: James Denton Starring: Alyssa Haymor, James Denton, Saffron Spearman Film Review by: Chris Buick ★★★★ After managing to survive and escape a brutal kidnapping, Grace (Haymor) wakes up in a hospital bed, battered, beaten, and bruised, with no recollection whatsoever of how she got there, what happened to her, or even who she is. For now, Grace is placed into witness protection, and the detective assigned to her case, Isaac (Denton), is desperate to help catch her abuser, but how? How do you catch a violent criminal when you don't know who you're looking for? Forgoing sleep and hygiene, and acting against the desperate advice of his friend and superior, Amanda (Spearman), Isaac puts everything into helping Grace recover. Slowly, the pieces of Grace’s mind and past begin to fall into place, and the bleak truth starts to reveal itself. Remembrance works due to the simple fact that it has a clearly talented team behind it. Starting at the top, Denton is a gifted filmmaker and performer, seemingly able to turn their hand to any aspect of the filmmaking process they wish to. Taking on the role of writer and co-director alongside Richard Oakes, not to mention also starring as the film's lead detective Isaac, they never seem to put a foot wrong in any area. The script they've written, while not wholly original, is nonetheless compelling, authentic, and highly entertaining, doing more than enough to hopefully set itself apart from others bloating the genre. Remembrance Official Film Trailer It helps that the film maintains a perfectly moody atmosphere throughout. Oakes more than pulls his weight on cinematography duties by beautifully matching the visual composition to the characters' mental states. We feel Grace’s struggle through a hazy, fuzzy lens, which contrasts sharply with the frantic, jumpy editing used to mirror Isaac’s intense frustration. Everything is shot with immaculate purpose to serve the story, rather than just for show. And special mention must go as well to Benjamin Symons' score, which is always on point to complement and augment all these ideas into something really great. Spearman also adds a great balance to the proceedings. Her authoritarian logic acts as a counterweight to Isaac's darkening emotions as he loses himself more and more in the case, allowing her the opportunity to play between the lines of no-nonsense boss and concerned friend. However, the trickiest role to navigate belongs to Haymor. By never resorting to melodrama or overwrought emotion, Haymor allows Grace to grow from a helpless victim into a picture of strength and courage. A strong and tense thriller, Remembrance could be a dark horse to watch out for when it hits streaming. Remembrance is on UK digital 19 October from Reel2ReelFilms.

Directed by: Teodora Ana Mitai Written by: Isabelle Darras, Lode Desmet, Hans Everaert Starring: Matteo Simoni, Violet Braeckman Film Review by: Thomas Manning ★★★★ Heysel 85 is a Belgian film that follows the Heysel stadium disaster in 1985 which led to the deaths of 39 spectators and several hundred more injured after a wall collapsed crushing a section of the stadium. The film mixes real life footage of the disaster with a dramatization of the events that captures the 80s aesthetic particularly well. At its heart, Heysel 85 is a film about incompetency, the refusal to take responsibility and the sexism in football culture. It follows two distinct storylines that frequently overlap, the first with Luca (Matteo Simoni) who is an Italian journalist searching for his brother who is in the stands and the second with Marie (Violet Braeckman) who is the daughter to the mayor and his press attaché that is at the centre of the disaster. The tension of the impending disaster is carefully constructed by director Teodora Ana Mitai who switches between the two perspectives to show the unrest forming and the inability to properly prepare for the European Cup final between Liverpool and Juventus. This tension reaches its peak in a horrifying scene where the camera follows Marie through the corridors of the dressing rooms beneath the stands as the audience can hear the carnage. The corridor quickly becomes filled with panicked spectators that frequently block the camera and add to the anxiety and tension that Mitai creates. Violet Braeckman’s performance throughout is fantastic but it’s in a scene with a child, where the scale of the disaster becomes apparent, that is a clear standout. One of the most depressing yet sobering aspects of the film is the response from the authorities to the disaster. Responsibility is juggled around and nobody is willing to accept accountability. This is most clearly seen with the mayor who becomes increasingly drunk as the film progresses and attempts to avoid the gravity of the situation. Instead of taking responsibility, he hides behind his daughter who merely an hour ago was being sent on errands to retrieve more alcohol. Mitai demonstrates the sexism of the 80s powerfully. Whether it’s the jeering of the Liverpool players in the dressing room towards Marie or the constant shutting down of Marie when it’s clear that she’s one of the few people that still has a moral conscience, Marie is never truly taken seriously. Indeed, she is one of the only characters in the film to have a heart and exercise morality in the situation. Heysel 85 Official Film Trailer Indeed, this leans towards one of the criticisms I have of Heysel 85. The character of Marie feels fleshed out and complex as she battles her position as the mayor’s daughter and press attaché with her own morality, yet, Luca’s character is solely defined by this search for his brother. It would have been worth extending the runtime to sit with this character a little more and dive into the questions of being a journalist in a disaster, especially surrounding exploitation, which are only ever touched upon lightly. An extended runtime would also allow the audience to witness the consequences of the authorities’ actions. Altogether, Heysel 85 is an important, powerful film that exposes the dangerous effects of cutting corners and the shirking of responsibility from those in charge. Director Mitai delicately unveils the tragedy, ensuring to centre the victims of the disaster. While this will naturally interests fans of football, it should also catch the interest of fans of Chernobyl when it comes to the deeper themes of accountability. Heysel 85 had its UK premiere at the 70th BFI London Film Festival on 15 October, ahead of its UK theatrical release on 20 November 2026.

Interview by Chris Olson Thanks for coming back and speaking with us again following our 2022 interview. How has your perspective on the industry evolved? A lot has changed since we last spoke. In 2022, I was very focused on making my own independent work and trying to create opportunities wherever I could. I still have that mindset, but working on productions connected with Sky, Film4, the BFI and Pulse Films has given me a much broader understanding of the industry. One thing I’ve realised is that, regardless of the size of the production, filmmaking still comes down to people. You can have a much larger crew, more resources and a bigger platform, but you still need good communication, trust and people who care about what they’re making. It has also taught me that a career in this industry isn't a straight line. You can play a lead role in one production and then find yourself fighting for the next opportunity. That can be difficult, but it has made me even more determined to keep creating my own opportunities and hopefully, at the same time, create opportunities for others. I think I understand the business side much more now as well. Having a good script is only one part of it. You need the right people, packaging, relationships, finance, timing, and sometimes a great deal of patience. How does acting in other filmmakers' work influence your own writing and directing? It helps enormously. As an actor, you experience very quickly what works and what doesn't. You know when dialogue feels natural and when you're fighting against something that nobody would actually say. You also learn how much a director can help an actor simply by creating the right environment. Playing Russell King was particularly interesting because I was portraying a real person rather than creating somebody entirely from imagination. There is a responsibility that comes with that. You have to understand the character, but you can't just turn them into a caricature. When I'm writing now, I think much more about what I'm actually asking an actor to do with a scene. Is there something underneath the dialogue? Is the character behaving like a real person rather than simply delivering information? And when I direct, I don't want actors to feel like pieces being moved around a set. I want them to understand what their character wants and then have enough freedom to find something truthful within the scene. How do you balance the heavy themes of Second Half with warmth and humour? That balance is absolutely essential. If Second Half were an hour and a half of people talking about depression, grief and suicide, I don't think it would connect with people in the way I want it to. The walking football environment itself gave me part of the answer. You can have people from completely different walks of life together, having banter with one another, arguing about whether something was a foul, laughing, having a cup of tea afterwards, and at the same time there can be people within that group dealing with very serious things. That's life. People don't stop laughing because they're struggling. So, Second Half deals directly with grief, loneliness, suicidal thoughts, and men struggling to talk, but it also has friendship, football, banter, embarrassing moments, and people winding each other up. The hope is important too. I'm not interested in making a film that tells people everything magically becomes perfect. I want it to show that sometimes having somewhere to turn up, somebody who notices you haven't turned up, and people who genuinely care whether you're there can make an enormous difference. How important are grassroots and mission-aligned partners like West Ham United Foundation? For Second Half, I think authenticity matters far more than simply having a recognisable name attached. My connection with the West Ham United Foundation came through actually playing walking football with them. That experience helped inspire the idea behind the film, so approaching them felt completely natural. I'm not asking them to finance the film. What I would love is their endorsement and support for what the film is trying to say about football, community, and mental health. For an independent filmmaker, I think partnerships like that can be incredibly important because they connect the film to people who actually understand the subject. If you're making something about a community, I think you should listen to that community. And if Second Half eventually encourages somebody who is struggling to join a football session, speak to somebody, or simply realise they're not as alone as they thought they were, that means considerably more to me than having a logo on a poster. How are you approaching character development in Oscar Drive? I've always loved horror, but the horror films that stay with me are usually the ones where I care about the people before everything starts going wrong. You can create the greatest jump scare in the world, but if I don't care what happens to the person walking down that corridor, the effect disappears very quickly. With Oscar Drive, I want the supernatural elements to be genuinely frightening, but I also want the fear to come through the characters and their relationships. I like the idea that the audience starts questioning things alongside them. Is something actually happening? Is this character reliable? Is somebody hiding something? Why does this place affect people differently? James Wan has been an influence because he understands suspense and knows how to make an audience look into the corner of a frame expecting something to be there. But ultimately, I want Oscar Drive to have its own identity. I want people frightened by what's happening, but emotionally invested enough that when the characters are in danger, it actually matters. What makes Empire of Vice different from standard British gangster stories? I love British crime drama, but I don't want Empire of Vice to become another story where everybody wears an expensive suit, drives a Range Rover and spends the whole time trying to prove they're the hardest person in London. The criminal world interests me, but so do the people around it. I want to explore the people being exploited, the families, the people laundering the money, the corrupt professionals, the people trying to escape, and the people who tell themselves they're not really criminals because they're one step removed from the violence. That’s where Empire of Vice becomes interesting to me. It's about power and the systems that allow people to abuse it. There will absolutely be violence and criminal characters, but I don't want to romanticise everything. Actions need consequences. I want audiences to understand why somebody entered that world without necessarily approving of what they've become. What does developing several independent features actually look like day to day? A lot less glamorous than people probably imagine! There are days when you're rewriting scenes, then you're emailing a producer, looking at possible funding routes, speaking to actors, putting together a pitch deck, checking locations, researching something for another screenplay, and then wondering why somebody you emailed three weeks ago hasn't replied. That is probably the biggest challenge. Writing the screenplay is the enjoyable part. Moving a screenplay from your laptop towards an actual production is an entirely different job. I've spoken with directors who wanted to be paid before becoming involved, and producers who effectively wanted me to do the producing myself or pay them upfront. Experiences like that teach you to be very careful about who you bring into a project. I'm learning to concentrate more on people who actually bring something to the table and genuinely want to build something. Having several projects also helps because they aren't all competing for the same opportunity. Second Half, Oscar Drive and Empire of Vice are completely different propositions. But I am also learning that sometimes you have to stop trying to push twenty things simultaneously and decide which project has the best chance of moving now. What lesson would you pass on to filmmakers trying to balance acting with their own projects? Don't allow somebody else's silence to determine how you feel about your career. That's something I'm still learning myself. You can have somebody tell you they love your work, ask for your screenplay or showreel, and then hear nothing. You can have what feels like a massive step forward followed by months where nothing seems to happen. If you emotionally depend on every email becoming an opportunity, this industry will destroy your confidence. So, I think the lesson I've learned is to keep building. Take the acting job. Write the screenplay. Make the short. Meet people. Learn another part of production. Help somebody else with their film. And don't be ashamed to ask for help. I've had moments when I've genuinely felt like I've taken one step forward and twelve backwards. But when I actually look at where I was when I was interviewed in 2022 compared with where I am now, there has been a lot of progress. Sometimes you're simply too close to it to see it. What's next for you? Hopefully, quite a lot. I'm continuing to develop Second Half and having conversations around how we can move that towards production. I'd particularly like to continue the dialogue with the West Ham United Foundation and hopefully secure their endorsement of the film and its message. I'm developing Oscar Drive as a supernatural horror feature and continuing to build Empire of Vice, which is a much bigger crime world that I think has considerable potential. On the acting side, I'm attached to play Vinnie, the crew's hacker, in the feature film Bullion. Mason Antonio Fardowe is playing Diamond, the team leader, and I'm really looking forward to working with him on that; he’s a great actor. And I want to continue acting in other people's productions as well. Playing Russell King in King of Lies reminded me how much I enjoy being able to concentrate purely on performing and somebody else's vision rather than worrying about every part of the production. Ultimately, I don't want to choose between being an actor, writer or director. I want to keep doing all three. And hopefully when I’m interviewed again in future, there’ll be even more to talk about.

Netflix Film Feature by Chris Olson As the autumn chill firmly sets in across the UK and the nights draw noticeably darker, film lovers around the world prepare for one of the most exciting periods on the cinematic calendar. November traditionally marks the official kickoff to the winter streaming rush, where global entertainment powerhouses deploy their heaviest hitters, major festival contenders, and seasonal crowd-pleasers. Here at UK Film Review, we always keep a keen eye on how streaming platforms curate their monthly slates. This coming November 2026, Netflix presents an extraordinarily varied lineup. From world-class auteur drama fresh from prestigious film festivals to big-budget historical epics, irreverent animation, and plenty of early festive cheer, there is a remarkable range of storytelling on offer. Below is your comprehensive preview of the new films arriving on Netflix this November, complete with everything you need to know before pressing play. A Dog's Perfect Christmas Opening the monthly slate on a warm, wholesome note, this heartwarming holiday drama is based on the work of Bruce Cameron, the acclaimed bestselling author behind A Dog's Purpose. The story follows a family in the midst of a deep personal crisis during the festive period. A Dog's Perfect Christmas Official Netflix Trailer At the center of the household's struggles are a teenage girl, her granddad, and an endlessly loyal basset hound, all trying desperately to hold their home and family together in the lead-up to Christmas Day. Expect plenty of gentle humour, tear-jerking family sentiment, and a central message about compassion, resilience, and unconditional love. It serves as an ideal early November watch for families looking to settle in for a cosy evening. One Year to Live, Buy a Man Adapting the novel that claimed the 28th Shima Kiyoshi Romance Literature Prize, this Japanese drama offers a fresh, witty, and surprisingly uplifting perspective on mortality and human connection. Directed by Hiroki Kazama and written by Yoshikazu Okada, the film stars Ko Shibasaki as Yui, a meticulous 40-year-old single woman who has spent her adult life saving every penny and treating romance as an unnecessary financial risk. Her world is turned upside down when a routine health check reveals she has only twelve months left to live. Realising she no longer needs to save for retirement, Yui decides to spend her remaining time in extravagant fashion—starting by "buying" the companionship of Sena (Eiji Akaso), a charismatic host with a pink mane of hair who asks her for a loan. What follows is a tender, deeply charming exploration of living in the present moment. Overacting Directed by Prueksa Amaruji and executive produced by Rergchai Poungpetch—the creative forces behind hit comedies such as Bikeman—this Thai action-comedy delivers full-throttle farce and non-stop energy. The narrative revolves around Winai, a legendary retired detective whose slipping memory leads him back to his glory days and an unresolved obsession with his old arch-nemesis. Dressed back in his uniform, Winai sets out to fight crime once more. To protect him, his daughter Woranuch—a struggling actress—recruits a ragtag group of former child stars and a local traffic cop to stage elaborate, fake police busts. However, when the real criminal unexpectedly resurfaces, the staged theatricality descends into genuine, high-stakes chaos. Possible Love Undoubtedly one of the highest-profile prestige titles hitting Netflix this season, Possible Love marks the celebrated return of legendary South Korean auteur Lee Chang-dong. Fresh off winning the prestigious Silver Lion at the Venice Film Festival and representing South Korea in the international film race, the feature offers an intricate character study of two contrasting married couples. Possible Love Official Netflix Trailer One pairing consists of a laid-off worker and his resilient partner, while the other comprises a driven documentary director and her spouse. When their paths intersect during the filming of a documentary, long-buried desires, emotional fractures, and stark social divides come to the surface. Impeccably acted and quietly intense, this is required viewing for serious cinema enthusiasts. Unprotected: Murder in Galicia For true-crime documentary viewers, this haunting Spanish feature offers a rigorous, eye-opening examination of institutional failure. Directed with delicate sensitivity, the film focuses on the tragic real-life case of Isabel Fuentes, who was brutally attacked in her home in Verín in April 2015. Unprotected: Murder in Galicia Official Netflix Trailer Despite a local Guardia Civil sergeant suspecting foul play and trying to secure her safety, system-wide oversights left her vulnerable, culminating in her tragic murder inside her hospital room just weeks later. Through detailed testimonies from investigating officers, medical staff, journalists, and surviving family members, the documentary reconstructs the timeline to ask uncomfortable questions about how the justice and protection systems ultimately broke down. Avedon Directed by Oscar-winner Ron Howard, this feature-length documentary offers an intimate exploration into the life, craft, and enduring visual legacy of legendary photographer Richard Avedon. From iconic portraits of world leaders and civil rights figures to groundbreaking high-fashion imagery, Avedon's lens fundamentally redefined the visual landscape of the twentieth century. Utilizing unprecedented access to Avedon’s personal archives—including never-before-seen stills, rare behind-the-scenes footage, and fresh interviews with key collaborators—Howard presents a rich, nuanced look at an artist who understood that behind every striking image lies an intricate human story. The Gospel of Christmas Prolific storyteller Tyler Perry returns with a soulful, faith-centered holiday drama set against the backdrop of an urban American community. The film centers on a struggling pastor who unexpectedly inherits his family’s historic church in a troubled New York neighbourhood. Plagued by personal self-doubt, financial hardship, and a scheming adversary seeking to tear the church down, the pastor must rediscover his spiritual purpose, rally his congregation, and lean on the power of prayer to save his family and sanctuary in time for Christmas. The Christmas Switch Adding international flair to the holiday comedy genre, this Swedish romantic feature adapts Eleonor Sager's popular audiobook Jul i Sankt Anna. The story follows two estranged sisters with wildly contrasting personalities and lifestyles who are forced by circumstance to swap lives in the weeks leading up to Christmas Day. The Christmas Switch official Netflix sneak peek Immersed in each other's routines, professions, and social circles, both women are pushed to re-examine their past decisions, confront what truly matters, and ultimately find romantic sparks in the most unexpected places. Heartland Featuring Academy Award winner Jessica Chastain in a commanding lead role, Heartland is a gritty, atmospheric neo-noir thriller set against the backdrop of the country music industry. Heartland Official Netflix Trailer Chastain stars as Misty Jones, a former country music icon living in self-imposed isolation. When her rising-star niece mysteriously vanishes into thin air, Misty is forced out of retirement and drawn deep into the dark underbelly of Nashville. As her search progresses, she uncovers a web of corruption, hidden motives, and long-buried personal secrets, proving that beneath the bright lights of Music City, very few people are who they claim to be. Gentle Monster Directed by acclaimed Austrian filmmaker Marie Kreutzer (Corsage), this psychological drama boasts a stellar European cast led by Léa Seydoux alongside Catherine Deneuve. Seydoux portrays Lucy, a brilliant concert pianist who relocates her family to a tranquil country estate to help her husband recover from severe burnout. Gentle Monster Official Netflix Trailer However, their fresh start is shattered during an early morning police raid when her husband is accused of an appalling crime. Trapped between unconditional love and growing horror, Lucy must navigate an agonizing search for the truth while keeping her family intact. Guarding Stars Mixing festive romance with lighthearted action dynamics, Guarding Stars pairs Leighton Meester and Jared Padalecki in a charismatic holiday comedy. Meester plays a no-nonsense, highly disciplined professional bodyguard tasked with protecting a charming, high-profile action cinema star over the busy Christmas holiday season. As they navigate public appearances, unexpected security threats, and family obligations, the professional boundaries begin to blur, giving way to sharp banter and unexpected romance. Steps An inventive animated twist on a timeless fairy tale, Steps flips the traditional story of Cinderella on its head. Written with razor-sharp comedic dialogue and featuring an all-star voice cast—including Ali Wong, Stephanie Hsu, Amanda Seyfried, Bette Midler, and Nikki Glaser—the film follows Cinderella’s overlooked stepsisters, Lilith and Margot. Steps Official Netflix Trailer Tired of living in Cinderella's shadow, Lilith steals the Fairy Godmother’s magic wand, accidentally breaking the fairy-tale realm and allowing a villainous schemer to seize power. To fix the kingdom, Lilith must form an unlikely alliance with Cinderella herself, embarking on a wild journey filled with rogue trolls and enchanted forests. The Mosquito Bowl Directed by action veteran Peter Berg, this sweeping WWII sports drama adapts the remarkable true story of four college football superstars following the attack on Pearl Harbor. Putting their athletic careers on hold to enlist in the U.S. Marine Corps, the men find themselves stationed in the Pacific theatre ahead of the brutal invasion of Okinawa. The Mosquito Bowl Official Netflix Trailer While preparing for combat, they organize and play in a legendary, high-stakes football game on the island—a final display of athletic camaraderie that would become their last showcase before facing the realities of war. The Child Rounding out the month's major releases, this Spanish period drama from director Mariano Barroso adapts Fernando Aramburu's acclaimed novel El Niño. Starring Belén Cuesta and Karra Elejalde, the film portrays the emotional aftermath of a devastating gas explosion that shook a small Basque town in October 1980. The Child Official Netflix Trailer Focusing on a grieving mother and grandfather navigating the immense sorrow of losing a child, The Child is a poignant, beautifully crafted exploration of loss, communal memory, and the unexpected paths humans take toward healing.

Directed by: Erik Shirai Written by: Unknown Starring: Yonezawaryu Daiku, Terunofuji Haruo, Kosei Film Review by: Holly Baker ⭐⭐⭐⭐ Sumo: Spirit Weighs Nothing (2026), directed by Erik Shirai, is a beautifully shot Japanese documentary that offers insight into the world of Sumo Wrestling. Shot digitally, the documentary uses a warm black-and-white monochrome, giving it an old-school Japanese look and feel. The action largely takes place within a Sumo training institution in Japan, where viewers are introduced to the trainees who must spend 6 months here for intensive training before becoming competing Sumo wrestlers. Most notably, we meet Hiradoumi Yuki, an up-and-coming sumo wrestler who is beginning to climb the ranks. Hiradoumi’s story leading up to and following the Sumo championship is a large, and very gripping narrative of the documentary. Viewers are provided with just the right amount of background information on the sport. The rules are summarised briefly- opponents are simply required to remove their competitor from the ring, or bring another part of their body, that isn’t their feet, to the ground. There is also an important inclusion of the way that Sumo Wrestling is quickly declining. The sport is so closely tied to Japanese ancient tradition, including religions, ideologies and mythologies. In a time when the country is rapidly modernising, these spiritual ideas tied to Japan’s historical identity are left behind. The documentary provides some stats on how starkly the number of Sumo wrestlers is dwindling, and shows how this is detrimental to the wrestlers, who are not only fighting for their victory, but also their deep-rooted passion to keep the sport alive. The centering of wrestler Hiradoumi is an inspiring and brilliant and artful choice by the filmmakers. He is currently one of the highest ranked wrestlers, and the documentary explores the trials and tribulations he went through, including the failures he faced. Viewers also see his home life and sense how important Sumo is to him, and how he will always dedicate himself to the sport despite the costs. Another wrestler who is in the spotlight throughout is Kosei. Kosei is among the youngest and smallest of the wrestlers. His body type is very different, making him quite sympathetic. Rather than using brute force and intimidation, which the majority of the wrestlers use, his lack of strength and size puts him at a high risk of injury, therefore, he must use his agility and speed to catch his opponents off guard. As well as the obvious risk of injury during wrestling, the documentary touches insightfully on the impacts of Sumo on life expectancy. Due to the extreme weight gain and intense training, Sumo wrestlers' life expectancy is reduced by 20 years. Wrestlers ’ bodies are put through extreme strain, they must eat around 10,000 calories a day, mostly consisting of plain rice. The documentary presents how this is a real struggle for the students of the Sumo institution, particularly Kosei, who expresses his nausea after eating in such large volumes and yet is told he must eat more. There is some interesting exploration into the influence of Japanese culture, and the way that Sumo stands out as such a unique sport compared to Westernised sports. Whilst Sumo is the biggest sport in Japan, the tournaments themselves are extremely civilised. The winners do not celebrate; there is no huge crowd reaction, rather there is a continuous respectful quiet and order throughout. This demonstrates how important the sport is to the Japanese people who care about it, watching it for them like a religious ceremony where a manner of politeness and composure is necessary. The competitors themselves are also very composed, there are never any arrogant demonstrations, and students speak about the way that becoming obsessed with victory will be poisonous to their ability to compete. Overall, Sumo: Spirit Weighs Nothing (2026) is a brilliant portrayal of one of the most unique and interesting sports in the world. Sumo stands out through its iconic, recognisable form, of the wrestlers, their uniform, and the arenas themselves. Sumo has been honoured for over a century and continues to hold symbolic importance, being practised in the same traditional fashion to respect its heritage. It is fantastic to have an in-depth insight into such a private world, played out engagingly and usefully for those who are interested in learning more. Sumo: Spirit Weighs Nothing was selected for the 2026 London Film Festival.

Directed by: James Gray Written by: James Gray Starring: Adam Driver, Scarlett Johansson, Miles Teller Film Review by: James Learoyd ★★★★ New York-born filmmaker James Gray is, for my taste, just the right amount of grumpy. If you’ve seen any interviews with the man during the press tour for his latest masterpiece Paper Tiger, you will have noticed that he brings to his interviews a deeply critical perspective – not just of modern cinema but of modern society (Capitalism being the big one). Because of this, despite the fact that the types of projects he chooses occupy quite traditional Hollywood territory, what he focuses on within these stories is always socially probing, deeply personal, and tends to hold tragic implications. Paper Tiger is no exception. This tense, perfectly measured crime-drama is one of his strongest releases to date. Adam Driver plays Gary Pearl – an imposing yet personable ex-cop who gets his family man brother Irwin Pearl (Miles Teller) mixed up with the Russian mafia. We’re right on the cusp of a post-Soviet world, and Russian crime in New York is thriving. It makes sense that Driver’s “it’ll all be okay” showman type character wishes to get in on the action, leading to terrible consequences for those in the firing line (Irwin’s two sons as well as his wife Hester, played by Scarlett Johansson). Paper Tiger Official Film Trailer The fact that, with Paper Tiger, he’s returning to his old interests and motifs – making a New York-set crime thriller with historical concerns – might appear to some like a step backwards. You might view this move as Gray attempting to ground oneself after more ambitious genre works (like Ad Astra) or more risk-taking works (like Armageddon Time). But I view this movie as a fascinating summation of all his themes and aesthetic modes of working. Visually, he’s acquired a level of visual mastery which, whilst certainly dormant, was not entirely present in his earliest work that I’ve seen. Now the director is able to balance cinematic subtlety and expression with a finely trained sense of intuition – always serving the characters, the performances and a sense of narrative drive. You only need to observe the movie’s final (and really only) action set-piece to understand the care with which the camera is being used. It’s the only sequence in which a gun is fired, despite the entire film holding the thrills of an action movie, and it’s one of the best directed things I’ve seen in a long time. I kept recalling the final set-piece of Akira Kurosawa’s wonderful Stray Dog, and I wouldn’t be surprised if Gray used it for inspiration. The way the camera holds on a face, tracks the movement of the eyes, and, through small camera adjustments and movements, places you in the psyche of our ill-fated subject. It’s all deeply refreshing, and something to behold. On their surface, the genres in which he operates could (or should) appeal to the masses: crime, sci-fi, adventure epics – with Armageddon Time being the only subdued, art-house outlier (a great film nevertheless). And yet, why Gray’s name is not spoken in the same breath as a Nolan or a Fincher is mystifying to me. All to say that James Gray is one of the most thoughtful, consistent and technically gifted filmmakers working today. He has a few masterpieces to his name that might remain underrated for some time: his previous film, the autobiographical Armageddon Time, is one of them – and I fear Paper Tiger may be another. It is the best English-language film I’ve had the pleasure to see at this year’s London Film Festival so far.

Directed by: Federico Borgia Written by: Federico Borgia Starring: Roberto Suárez, Maitina De Marco, Esteban Bigliardi Film Review by: William Curzon ★★★ Prince follows the titular Afghan hound, whose owner is devoted to him. As Jaime (Roberto Suárez), a devoted butler, settles in with the titular dog, greedy relatives scheme to disrupt their peaceful arrangement in a ruthless custody battle. Prince is a feature-length film that explores themes of wealth, greed, and love in a darkly comedic take on domestic life. Prince opens with a unique approach, relying heavily on visual storytelling to show the audience the central characters’ opulence. It's a commendable choice, as it explores Jaime and Prince in their daily routine without overexplaining the story’s ideas and themes. It's a double-edged sword as the characters bathe in their wealth, yet their struggles with depression and self-doubt make it hard not to feel sorry for them despite their flaws. Jaime is a compelling central character, conveying his devotion to Prince profoundly, and it is engaging to watch as he deals with the supporting characters attempting to disrupt their relationship. While it takes a while to find its footing, the narrative becomes far more compelling as the central conflict begins to brew. Writer/director Federico Borgia’s script is incredibly provocative in the way it explores themes of fortune, depression and domestic life. The film balances its satirical edge with the narrative’s dramatic elements profoundly. While it may suffer from a meandering pace that detracts from the experience, the screenplay’s deep dive into Jaime’s struggle with grief makes the prolonged runtime rewarding. Despite feeling like a chore to sit through at times, the film’s final stretch ties all the narrative threads together, leading to an uncomfortable and eerie conclusion that may linger in viewers’ minds after the credits roll. Many of the film's technical aspects are incredibly impressive. Ismael Varela serves as the film's composer and delivers a melancholic score that accompanies certain scenes superbly. That said, it can become repetitive due to recurring motifs. Ramiro Gonzalez Pampillon serves as the film’s cinematographer and primarily frames each scene with wide shots to capture the wealth and splendour of the bungalow Prince lives in. The camera also shifts to tracking during an incredibly tense sequence as it follows Jaime in anguish, with the score swelling in the background. This scene in particular is a standout in the film as it is a wonderfully shot, tightly edited, and well-acted piece of filmmaking. Prince film trailer Roberto Suárez’s portrayal of Jaime is incredibly engaging throughout. He perfectly captures the character’s affluence and self-pity while also conveying the emotional nuance in the film’s final third. His chemistry with Maitina De Marco as Isabel in her brief screen time is also remarkable. Roberto Suárez’s performance shines in the film's conclusion, as his expressive body language beautifully conveys the characters' fall from grace. The supporting players are also memorable in their portrayals of despicableness as their characters work their way into Prince and Jaime’s peaceful life. Prince is a compelling depiction of prosperity, greed, and domestic life. While the film may suffer from pacing issues, its eerie conclusion makes it ultimately rewarding. Anchored by a remarkable central performance from Roberto Suárez and unique camerawork, Prince is a memorable piece of indie filmmaking.

★★★★ Directed by: Molly Manners Written by: Rose Tremain, Miriam Battye Starring: Marni Duggan, Galaxie Clear Film Review by: Chris Olson Poignant, heartfelt, and low-key, Extra Geography is the new coming-of-age comedy drama directed by Molly Manners. Based on the Rose Tremain short story, we follow Flic (Marni Duggan) and Minna (Galaxie Clear) as they navigate their tumultuous time as boarding school students on the precipice of adulthood. Initially traversing the school like they own the place, the pair set themselves the task of “falling in love” with the first person they lay eyes on (their geography teacher), Flic and Minna then begin to experience the anxiety-provoking yet inevitable growing pains that can only come from this period of life. The chemistry between the two leads feels like a real friendship, and this film lives and dies on that connection. Flic and Minna have a banter reminiscent of that of Amy and Molly in Olivia Wilde’s 2019 film of the same genre, Booksmart (which is also great!). Their penchant for dramatic bleakness gets peppered with moments of ebullient joy that can only come from people of this age, and it gets beautifully rendered on screen. “If you were happy it would probably mean you were thick”. Laden with dry wit, Extra Geography's script immerses the audience in an authentic regaling of British teenage years, sans parents, where every step taken feels crucial. Whether it’s chasing boys or wearing makeup, it’s life or death, and that atmosphere of intensity for the characters plays out amongst the scenic beauty of the school and grounds. Extra Geography Official Trailer It’s dipping into important topics such as orientation and gender roles but not in a way that smacks you over the head with the works of Jane Austen. Instead, the audience is treated maturely and asked to pay attention to the subtle manipulations we all experienced during puberty without even knowing it. The jaunty classical soundtrack creates a nice synergy with the classic literature being referenced - it’s a perfect film for the bookish, especially with the story being divided up into chapters, catering for the Netflix crowds who gorged on the likes of Sex Education and Heartstopper. It slides easily into the same league as coming-of-age movies like the aforementioned Booksmart, or the excellent 2017 Lady Bird. Just be ready to see a lot of tampons. Extra Georgaphy is in UK cinemas on October 2nd, 2026.

Directed by: Cyrus Neshvad Written by: Guillaume Levil, Cyrus Neshvad Starring: Malik Zidi, Brigitte Urhausen, Lydia Indjova Film Review by: Holly Baker ★★★★ Child (2026), directed by Cyrus Neshvad, is a disturbing thriller with striking imagery, set in rural Luxembourg. The film follows a couple, Anne and Gregg whose child is seriously ill, and pictures their journey into morally compromising methods to help their dying son. Viewers may find this couple of parents difficult to root for, as seeing the number of people they are willing to hurt along the way for the life of their son is brutal. However, those who watch, particularly can understand how strongly they care about their son, and can comprehend the horrors of what it would be like to lose a child. The film is relentless from the opening shot. We see washed-out, hopeless imagery from the outset as cinematographers do not shy away from the gloomy realities of extreme trauma and child death. Child could certainly qualify as a horror film, with its immense darkness and violence, as the couple gradually lose themselves in the dark criminal underworld. Similar to Cyrus Neshvad’s previous directorial work, which is made up of several critically acclaimed shorts, such as I Will Be Alright (2026) and The Red Suitcase (2022), Child is considerably artful in its presentation of grim subjects. The film uses largely outdoor settings allowing the natural world to characterise the screen. As well as this, there is an interesting colour contrast in the grading, particularly in the hospital segments, with their blue-grey misery evoking the atmosphere of a horror film. Child Official Film Trailer Despite the thrillingly horrific events of the film, the characters consistently feel authentic in their despair, and they pose intriguing ideas about the world around us. In this way, they feel almost Shakespearean in the way that their doom is shaped by society, but also by their own fatal errors. Gregg, for instance, is somewhat responsible for their son's tragedy, and therefore refuses to allow him to die as this guilt would kill him. Anne is, from first impressions, an empathetic, good-willed individual; however, she throws all this away at the chance to save her son. By abandoning basic moral principles, and even betraying one of their own, a fellow mother, the couple descend into a world of chaos where laws no longer apply. Viewers may find their minds drawn to “The Rime of the Ancient Mariner”, a classic Gothic poem wherein a moral boundary being broken brings a curse to a mariner's journey, tormenting him for the rest of his life. Similarly, Anna and Gregg will never escape the guilt of their actions, as Child highlights the way that small decisions lead to a lifetime of owed penance. The minimalistic. costuming and make-up in Child is incredibly effective in highlighting the shock factor of crucial moments. There is a focus on facial expression, particularly in the eyes of Anna, as viewers witness her desensitisation to the people she fails to help along the way. Both characters wear fairly nondescript outfits, underlining the idea that potentially any individual may be capable of committing immoral acts when placed in a position of absolute peril. Overall Child is a tough but worthwhile watch for viewers who are comfortable with graphic depictions of child kidnapping and organ harvesting. Though it is desperately dark in its most upsetting moments, there is an immense beauty in the careful cinematography, brilliant performances, and touching tragedy. Child will be in UK Cinemas from 2nd October