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MANIFF 2020: Amores perros

MANIFF 2020: Amores perros

Alejandro González Iñárritu’s 2000 directorial debut Amores perros provides a look into the class structure in Mexico City that is still relevant today, writes Zofia Gryf-Lowczowska
MANIFF 2020: Before the Fire

MANIFF 2020: Before the Fire

Although Charlie Buhler’s pandemic-based Before the Fire may seem perfectly timed, it fails to recreate even a bad apocalypse film, writes Michal Wasilewski.
Review: Calm with Horses

Review: Calm with Horses

Calm with Horses blends a gripping underworld story with a personal drama to create universal moral dilemmas, writes Michal Wasilewski.
MANIFF 2020: Sweethearts

MANIFF 2020: Sweethearts

Karoline Herfurth’s Stockholm syndrome-based romantic comedy Sweethearts is neither romantic nor particularly funny, writes Deputy Film Editor Josh Sandy
Opinion: Can we separate the art from the artist?

Opinion: Can we separate the art from the artist?

In light of the raft of sexual misconduct allegations within the film industry, Zofia Gryf-Lowczowska discusses whether or not we truly can separate art from its artist
Review: Super Duper Close Up

Review: Super Duper Close Up

Kayleigh Crawford reviews Super Duper Close Up at the Royal Exchange Theatre
Review: Little Joe

Review: Little Joe

Carl Fitzgerald reviews Jessica Hausner’s “stunning” and “fantastically creepy” plant-based thriller
Review: The Invisible Man

Review: The Invisible Man

Featuring a standout performance from Elizabeth Moss, Leigh Whannell’s adaptation of HG Wells’ 1897 novel is a masterclass in updating a classic character for the 21st century, writes Carl Fitzgerald
Recommended: Women in cinema

Recommended: Women in cinema

In celebration of Manchester’s upcoming Women In Media, this week’s recommendation column features the film section’s writers and editors highlighting their favourite female-directed films
Review: Naked Lunch

Review: Naked Lunch

This abstract Burroughs adaptation is simultaneously Cronenberg’s grimmest and funniest film, earning a spot at HOME’s latest season on ‘unfilmable’ books, writes Carl Fitzgerald
Review: Little Women

Review: Little Women

I was sad to leave that marvellous world I had been transported to for two hours – That is the sign of truly impeccable cinema, writes William Johnston
Review: A Beautiful Day in the Neighbourhood

Review: A Beautiful Day in the Neighbourhood

Featuring a spellbinding performance from Tom Hanks, A Beautiful Day in the Neighbourhood is a charming and heartwarming look at a true American icon, writes Will Burdess
Review: Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

Review: Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

Caitlin Williams reviews Birds of Prey, a thrilling showcase of a great girl gang team-up
Review: Parasite

Review: Parasite

Bong Joon-ho’s Oscar-winner is a brilliant satire on social inequality, and a mesmerising cinematic experience, writes Michal Wasilewski
Review: The Lighthouse

Review: The Lighthouse

Robert Eggers steers far from a sophomore slump with this atmospheric horror punctuated by sledgehammer performances from Robert Pattinson and Wilem Defoe, writes Carl Fitzgerald
Black in Fashion UK host new film Queen and Slim

Black in Fashion UK host new film Queen and Slim

Fashion writer Nicole Lloyd discusses how intrinsic the wardrobe of the film Queen and Slim is to its political messaging
Déjà Review: Eyes Wide Shut

Déjà Review: Eyes Wide Shut

Twenty years on from its original release, Stanley Kubrick’s final feature proves as baffling, bizarre and frankly dull as ever, writes Alex Ferguson
Review: The Personal History of David Copperfield

Review: The Personal History of David Copperfield

Political satirist Armando Iannucci assembles an all-star cast for this period epic adaptation of Dickens’ novel that’s witty, energetic and charming, writes Carl Fitzgerald
Review: Queen and Slim

Review: Queen and Slim

Carl Fitzgerald reviews the frustrating tale of two runaways, starring Jodie Turner-Smith and Daniel Kaluuya
Review: The Nightingale

Review: The Nightingale

Following on from The Babadook, Jennifer Kent’s latest film The Nightingale proves a searing depiction of colonialism and the intersection of oppression fronted by stellar performances, writes Carl Fitzgerald