The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
Latest editorial
Basqueing in it
RITA DI SANTO relishes the mix of traditional and innovative films on offer, and particularly the rich sample of new Latin American work
sanseb
JOHN GREEN explores the argument that psychiatry needs to move away from the idea of just seeing and treating the individual
SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
IN the beautiful Basque country, the 71st San Sebastian Film Festival maintained its innovative spirit, and audacious political character.
This year the Golden Shell Award went to Spanish director Jaione Camborda for The Rye Horn, a film about solidarity and sisterhood set during the Franco regime.
Maria, a solitary midwife, who lives on an island near Galicia, secretly helps young women terminate their pregnancies, but when one of her patients dies, she must flee to Portugal. The escape drives her out of solitude, as always, when a woman comes forward to help.
More from this author
RITA DI SANTO speaks to Laura Carreira about her study of workers in an Amazon warehouse, On Falling
In the second of a two-part report RITA DI SANTO speaks to Palestinian film-maker Mohammed Almughanni
RITA DI SANTO casts an eye over the winners - and the overlooked films - from this year’s festival
RITA DI SANTO assesses the political reaction to Francis Coppola’s epic, self-funded depiction of the decline of the US empire