THE DAVID PARKINSON FILM BLOG

(Reviews of Charlatan; I Blame Society; Laddie: The Man Behind the Movies; and Henry Glassie: Field Work) In an ideal world (whatever that is), UK cinemas will be reopening in 10 days. For the moment, however, the only place to see the new titles and catch up with some of the recent releases you missed is online. So, in addition to subscription sites like Curzon Home Cinema. MUBI, Netflix and the BFI Player, you should also be able to access the titles under discussion below

(Reviews of The Mauritanian; Why Don't You Just Die!; Nemesis; Turu, the Wacky Hen; and Tina) Despite the relaxation of the odd outdoor restriction, we remain in Lockdown 3 for a few more weeks. This means that cinemas across the UK will stay still closed and all new releases stay online until 17 May at the earliest. So, in addition to subscription sites like Curzon Home Cinema. MUBI, Netflix and the BFI Player, you should also be able to access the titles under discussion be

(Reviews of Slalom; Simple Passion; Blush; White Colour Black; Zappa; and IWOW: I Walk on Water) Seemingly, we are to remain in Lockdown 3 for a few more weeks. This means that cinemas across the UK will stay still closed and all releases will be online until those drafting roadmaps decide otherwise. In addition to the offerings on Curzon Home Cinema. MUBI, Netflix and the BFI Player, it should also be possible to access the titles under discussion below via iTunes, Apple TV

(An overview of the 15th London Korean Film Festival) Such is the current way of the world that the 15th edition of the London Korean Film Festival is a hybrid affair. In addition to physical screenings at a handful of venues in the capital, the programme will also be available online so that viewers across the UK can catch up with the latest releases, as well as the various live and virtual events that have been laid on to mark this banner year for South Korean cinema. Indee

(Reviews of Pinocchio; The Assistant; Yes, God, Yes; and My Rembrandt) The majority of cinemas may be closed during these enduringly dismal days. And who, in all honesty is that big a film fan that they would risk contracting a contagious disease just to see something on the big screen as part of a well-spaced crowd? There are still ways to connect with some of the films on general release, however. In addition to Curzon Home Cinema. MUBI and the BFI Player, it should also be

(Reviews of Citizens of the World; A Rainy Day in New York; Standing Up, Falling Down; Banana Split; Hooking Up; Trick or Treat; and Echo in the Canyon) Cinemas may be closed during these dismal days. But there are still ways to connect with some of the films on general release over the next few weeks and months. In addition to Curzon Home Cinema. MUBI and the BFI Player, it should also be possible to access the titles under discussion via iTunes, Apple TV, Amazon, Sky Store,

(Reviews of The Man Who Killed Don Quixote; Talking About Trees; Show Me the Picture: The Story of Jim Marshall; and Everything: The Real Thing Story) THE MAN WHO KILLED DON QUIXOTE. Terry Gilliam first hatched the idea for The Man Who Killed Don Quixote shortly after completing The Adventures of Baron Munchausen (1988). It says much for the onetime Monty Python animator's tenacity that he finally realised his vision in 2017 and that he remains enthusiastic on the promotion t

(Reviews of Lullaby; Be Natural: The Untold Story of Alice Guy-Blaché; Lucian Freud: A Self Portrait) LULLABY. What do you do when the Prix Goncourt-winning novel you are about to adapt gives away its secret in the opening segment? That's the problem facing director Lucie Borleteau and co-writers Jérémie Elkaïm and Maïwenn Le Besco in bringing Leïla Slimani's thriller, Chanson douce, to the screen as Lullaby (or Perfect Nanny, as it was known on the festival circuit). The few

Reviews of Non-Fiction; Good Posture; Ladyworld; La Flor; Tell Me Who I Am; and Home NON-FICTION. Following a couple of collaborations with Kristen Stewart on Clouds of Sils Maria (2014) and Personal Shopper (2016), Olivier Assayas turns his attention to the world of publishing in Non-Fiction. Centring on the chic Parisian chatterati, this could be mistaken for an archetypal French arthouse picture, with plenty of erudite philosophical musing and oodles of adulterous intrigue