The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
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Nothing to write home about
RITA DI SANTO reels off her disappointment at Sundance 2022 Festival's tedious mediocrity
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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
THE just ended Sundance Film Festival (London edition) introduced 12 feature films from this year’s main festival held in Park City in Utah, US. Following its tradition of supporting emerging voices in filmmaking, the festival featured an equal number of male and female directors in this year’s selection, granting a range of British, Finnish, French, Indonesian, Canadian, Lebanese and US filmmakers to tell their authentic stories.
Winner of the audience awards was Brian and Charles, directed by Jim Archer – a story, set in rural Wales, about a lonely inventor who takes on his most ambitious project yet. By assembling a washing machine and a few odd pieces of junk, he invents Charles, an AI bot, who learns English from a dictionary and has an inexplicable obsession with cabbages.
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