Kavish Chetty / 19.01.2012 I relinquish myself to every adolescent/boyhood urge: the original title of Almodóvar’s new film is La Piel Que Habito. That knowledge would function ordinarily as mere trivia for the pretentious
Kavish Chetty / 12.01.2012 I don’t know precisely where the artistic impulse for endless local crime fiction emerged. It’s much easier to see its dark inspiration in the seething, throbbing streets of South Africa.
Kavish Chetty / 08.12.2011 Drive opens up on the dark, neon-lit arteries of downtown Los Angeles. There’s an immediate parallel here – you feel it in the loneliness, the slumberous anguish – to Taxi
Kavish Chetty / 24.11.2011 It’s difficult to resist the histrionic urging of a film like this. It dangles its seductive lameness before you. It architects the mise-en-scène for a thorough critical savaging, which spares
Briain Lethlabane / 18.11.2011 The movie about my life would open with this scene. This still shot, in fact. In a voiceover, I’d talk about how tense I was shooting it and how badly
Roger Young / 28.10.2011 Before you had Zack Galifianakis, Ricky Gervais, before Tim and Eric, before Tom Green, there was one guy who did uncomfortable comedy better than all of them, Robert De Niro.
Kavish Chetty / 27.10.2011 There is, in our film and literature – and I’m sure you’ve felt it too – an obsession with the past; this sense that the “present” we have is dragged
Kavish Chetty / 24.10.2011 Cinema has the magnificent discontinuity that our own lives are lacking. We have to breathe through all the stasis and slumber, the lulls and breaks in rhythm, the slow marches.
Brandon Edmonds / 21.10.2011 Fridays are One on One day at Mahala. One scene, one song, one image, product or design that’s made a real difference to you with its power, originality, brilliance or
Kavish Chetty / 20.10.2011 Film-makers are about to start greedily suckling on these tropes. Skeem has managed to bag itself the nicest picket-fenced plot at the end of the cul-de-sac and everyone’s going to