THE DAVID PARKINSON FILM BLOG

(Reviews of Kim Novak's Vertigo; McCartney: The Hunt For the Lost Bass; D Is For Distance; Two Women; and Empire of Lies) KIM NOVAK'S VERTIGO. It's not often that a ghost is thanked in a film's credits. But the closing crawl of Alexandre O. Philippe's Kim Novak's Vertigo makes it clear that the spirit of Alfred Hitchcock was `undeniably present during the making of this movie'. This is the latest of the Swiss American documentarist's screen studies, following the likes of Ea

(Reviews of Two Prosecutors; Orwell: 2+2=5; Underland; Redoubt; and No Ordinary Heist) TWO PROSECUTORS. Such has been the provocative excellence of such documentaries as Maidan (2012), The Event (2015), Austerlitz (2016), The Trial (2018), State Funeral (2019), Baba Yar, Context (2021), and The Kiev Trial (2022) that it's easy to forget that Ukrainian director Sergei Loznitsa has also made such impactful fictional films as My Joy (2010), In the Fog (2012), A Gentle C

(Reviews of Trains; Dead Man's Wire; Damned If You Do, Damned If You Don't; Dead Lover; Abode; Apnas; The Land of Sometimes; and The Last Supper) TRAINS. Among the first images ever projected on to a cinema screen was the arrival of a steam locomotive at a station on the Mediterranean coast. Auguste and Louis Lumière's L'Arrivée d'un train en gare de La Ciotat (1895) falls outside the purview of Maciej J. Drygas's Trains , an archival documentary about 20th-century steam trav

(Reviews of La Grazia; The Tasters; Broken English; and One Last Deal) LA GRAZIA. Director Paolo Sorrentino and actor Toni Servillo have formed one of the great partnerships in modern cinema history. Each made his debut with L'uomo in più/One Man Up (2001), with Servillo playing an ageing crooner. He was a lonely businessman with Mafia connections in Le conseguenze dell'amore/The Consequences of Love (2004) and a grasping money lender in L'amico di famigli/The Family Friend

(Review of Exhibition on Screen: Turner & Constable) EXHIBITION ON SCREEN: TURNER & CONSTABLE. As the marvellous Exhibition on Screen series moves towards its 40th title, it comes as a surprise to discover that only two previous entries have been dedicated to British artist. However, David Hockney At The Royal Academy of Arts (2017) and Lucian Freud: A Self Portrait (2020) are now joined by Turner & Constable , which explores the acclaimed Tate Britain show, `Rivals and Ori

(Reviews of La Bohème; The King's Warden; and Dolly) LA BOHÈME. An English graduate from Hertford College, Oxford and a former Artist in Residence at the Oxford Playhouse, Robin Norton-Hale has made her name as the founder and the Artistic Director of OperaUpClose. She has produced English updates of several operas and makes her directing debut for the screen with an adaptation of the 2009 stage reworking of Giacomo Puccini's La Bohème that earned Norton-Hale an Olivier Awar

(Reviews of Sirāt; The Spin; Little Amélie; and All You Need Is Kill) SIRĀT. Having made three shorts in the mid-2000s,French-born Galician director, Óliver Laxe, established his reputation with a trio of distinctive features. Now, he has followed You All Are Captains (2010), Mimosas (2016), and Fire Will Come (2019) with Sirāt , which takes its title from the Arabic word for hair-thin, but razor sharp bridge between Heaven and Hell. In addition to winning the Jury Prize a

(Review of Man on the Run; and Fukushima: A Nuclear Nightmare; The Forbidden City) MAN ON THE RUN. `Stuck inside these four walls,' are the key words to understanding the Paul McCartney profiled in Morgan Neville's documentary, Man on the Run . He had first felt confined in Rishikesh in the spring of 1968 and then again during the recording of `The White Album', when he had annoyed John Lennon and George Harrison by recording certain tracks on his own. To avoid the walls clos

(Reviews of The President's Cake; Looney Tunes: The Day the Earth Blew Up; and Stitch Head) THE PRESIDENT'S CAKE. The winner of the Caméra d'or at Cannes for Best First Feature, Hasan Hadi's The President's Cake  is based on the director's own experience of life in the Mesopotamian marshes under Saddam Hussein. It numbers Chris Columbus and Marielle Heller among its executive producers. Yet, despite such Hollywood input, this feels to have more in common Iranian Majid Majidi'

(Reviews of Twinless; The Chronology of Water; and 100 Nights of Hero) TWINLESS. There was clearly something in the air during 2025, as there were an inordinate number of films about bereavement and grief. Following David Cronenberg's The Shrouds , we had Courtney Stephens's Invention , Jaume Collet-Serra's The Woman in the Yard , Alessandro Antonaci, Daniel Lascar, and Stefano Mandalà's The Grieving , Julia Max's T he Surrender , Nico Santucci's Sarogeto . Dylan Southern's T

(Reviews of Nouvelle Vague; and Saipan) NOUVELLE VAGUE. In Redoubtable  (2007), Michel Hazanavicius explored the relationship between Jean-Luc Godard (Louis Garrel) and actress Anne Wiazemsky (Stacy Martin) during the shooting of La Chinoise (1967). Now, in Nouvelle Vague , Richard Linklater goes back to the start of the auteur's remarkable, if sometimes contentious career to recall the making of his debut feature, À bout de souffle (aka Breathless , 1960). In Paris in 1959,

(Reviews of Heavyweight; and Another World) HEAVYWEIGHT. There have been a few boxing pictures lately. Alongside the biopics of George Foreman and Prince Naseem Hamed, George Tillman's Big George Foreman (2023) and Rowan Athale's Giant (2025), there have been grittier lower-rung sagas like Jack Huston's Day of the Fight (2023) and Sean Ellis's The Cut (2024), as well as women's boxing dramas like Halle Berry's Bruised (2020) and David Michôd's Christy (2025). Set in a s

(Reviews of State of Statelessness; and Miss Moxy) STATE OF STATELESSNESS. The portmanteau film has fallen into disrepute since its postwar heyday. It was mostly beloved of European producers, who corralled the biggest names in usually French and Italian cinema to direct segments in pictures linked by a particular author or theme. Nowadays, it's primarily the preserve of the horror genre. But the Drung Film-makers Collective has brought four Tibetans together to consider the

(Reviews of Becoming Victoria Wood; Still Pushing Pineapples; and Son of the Soil) BECOMING VICTORIA WOOD. Victoria Wood cropped up recently during research for an article on the 80th anniversary of David Lean's Brief Encounter (1945). In her 2000 Christmas show, Victoria Wood With All the Trimmings , she had pastiched the railway buffet sequences with a trademark mix of affection and acuity. Clever though the writing was, however, it was a surreal gag about a mince pie in t

(Reviews of Menus-Plaisirs - Les Troisgros; and No Time For Goodbye) MENUS-PLAISIRS - LES TROISGROS. Fifty-nine years have passed since Frederick Wiseman made his first observational documentary, Titicut Follies (1967). Having examined various aspects of institutional and communal life in the United States, he relocated to France, where he has focussed more on matters creative than politics and the social fabric. Now, following La Comédie-Française ou l'Amour joué (1996), L

(A review of the film year) The year that culminates in cinema's 130th birthday has not been a vintage one. Even the usually reliable French film industry has had an unremarkable 12 months, while Hollywood seems stumped about what to do next because, after 50 years, the bottom finally seems to be dropping out of the blockbuster market. Indeed, 2025 ends with Paramount and Netflix competing to purchase Warner Bros. in a symbolic battle for the soul of cinema that casts doubt o

(Reviews of The Six Billion Dollar Man: Julian Assange Colossal Wreck; and the Price of Truth; and Odyssey) THE SIX BILLION DOLLAR MAN: JULIAN ASSANGE AND THE PRICE OF TRUTH. Eugene Jarecki established himself among America's finest documentarists with cannily cogent items like The Trials of Henry Kissinger (2002), Why We Fight (2005), Reagan (2011), The House I Live In (2012), and The King (2017). It's been eight years since his last outing and he returns on uncompromis

(Reviews of Silent Sherlock: Three Classic Cases; Baby; Animalia; and Christmas, Again) SILENT SHERLOCK: THREE CLASSIC CASES. Christmas has come early for Holmesians, as the BFI has released Silent Sherlock: Three Classic Cases into cinemas to launch the roll out of the 45 shorts and two features that Eille Norwood made for Stoll Pictures in the 1920s. The entire catalogue has been painstakingly restored and this 73-minute package suggests that cinema lovers have a real treat

(Reviews of Un sacco bello; and Folktales) UN SACCO BELLO. CinemaItaliaUK ends its year with something of a treat, as it screens Carlo Verdone's debut feature, Un sacco bello/Fun Is Beautiful (1980) at the Regent Street Cinema on 7 December. Co-produced by Sergio Leone and scored by Ennio Morricone, this episodic comedy earned Verdone (who has, of course, gone on to be one of Italy's finest film-makers) a special David di Donatello Award and the Nastro d'Argento for Best New

(Reviews of Pillion; Game; and Fiume o Morte!) PILLION. Adam Mars-Jones's 2020 novel, Box Hill, provides the inspiration for Harry Lighton's Pillion. However, the first-time writer-director has moved the action from the 1970s to the present day and made a few cosmetic tweaks to put an unconventional spin on the romcom. Colin Smith (Harry Melling) is a gay traffic warden in Bromley. He lives with his parents, Peggy (Lesley Sharp) and Pete (Douglas Hodge), who encourage him to