The Shepherd and the Bear (15)
Directed by Max Keegan
★★★★★

SET high in the majestic French Pyrenees, The Shepherd and the Bear is a documentary that explores a conflict provoked by the reintroduction of brown bears in the midst of a traditional shepherding community.

The shepherd and chief protagonist, Yves, is a gift to a film maker, with a face as if carved from Pyrenean rock and the visage of a Biblical prophet. The film follows Yves, who struggles to find a successor as bears prey on his flock, and a teenage boy who becomes obsessed with tracking the bears with his camera.

It is a battle between environmentalists and a small indigenous population that sees its way of life threatened: the age-old battle between human beings and wildlife. Can we live amicably alongside top predators like bears?

Through its breathtaking cinematography and immersive storytelling, this is a modern folktale about tradition, community and humanity’s relationship with a vanishing natural world. The interiors of the shepherds’ huts are reminiscent of Rembrandt interiors, lit by candle, with no artificial lighting, in which you can hear the wind roaring and almost smell the woodsmoke. We witness the heated discussions between the denizens of this remote community with administrative officials and wildlife advocates as battle lines are drawn.

There is no commentary, only dialogues of the peasant families themselves, so we are left to make up our own minds about the rights and wrongs of the case.

An uplifting and warmly humane masterpiece.
JG
In cinemas February 6

 

Hamlet (15)
Directed by Aneil Karia
★★★★☆

OSCAR-WINNING film-maker Aneil Karia reunites with Riz Ahmed for this intense and thrilling adaptation of William Shakespeare’s Hamlet set in contemporary London. 

Based around a wealthy British South-Asian family, Hamlet (Ahmed) returns for his CEO father’s funeral to learn that his uncle Claudius (Art Malik), who is now in charge of his dad’s company, is planning to marry his mother Gertrude (Sheeba Chaddha)  

Ahmed, who also produced the film, gives a powerhouse performance as Hamlet in this modern version, which is shot like an action thriller but features Shakespeare’s original dialogue. It feels fresh and relevant as the play’s themes still resonate today: family loyalty, betrayal, greed, revenge and mental health issues.  

The “To be or not to be” speech is electrifying and worth the wait, and Ophelia’s (Morfydd Clarke) demise is more realistically portrayed. 

This Hamlet feels more accessible than previous adaptations and will hopefully widen Shakespeare’s appeal. 
MD
In cinemas February 6

Twinless (15)
Directed by James Sweeney
★★★★☆

THIS is one of those films that the less you know about it the better as it is a deliciously dark and twisted comedy full of surprising turns from writer, director, producer and actor James Sweeney. 

It centres on Roman (Dylan O’Brien) who, grieving the loss of his identical twin brother Rocky (O’Brien), joins a support group for “twinless twins” where he meets Dennis (Sweeney). An unlikely friendship ensues as Roman increasingly leans on Dennis for support who starts falling for Roman, even though he isn’t gay, unlike his sibling. 

The first act is told from Roman’s perspective and, following the title credits, it switches to Dennis’s point of view. This is a real eye opener as the tone shifts and it transforms into a psychological drama that explores loneliness, identity and forgiveness.  

Masterfully crafted, and with superlative nuanced performances by O’Brien and Sweeney, this bold and original film is a must see. 
MD
In cinemas February 6

100 Nights of Hero (PG-13)
Dir Julia Jackman
★☆☆☆☆

OF all the films inspired by One Thousand and One Nights — from the Technicolour swagger of The Thief of Bagdad to the earthy, unruly sensuality of Pier Paolo Pasolini’s Arabian Nights — 100 Nights of Hero feels like the prettiest guest at the party with the least to say.

Written and directed by Julia Jackman and adapted from Isabel Greenberg’s graphic novel, the film promises a feminist historical fantasy: a neglected wife left alone for a hundred days to “prove” her fidelity, who instead discovers lesbian desire, solidarity, and resistance to patriarchy. It’s a great premise. Sadly, the execution is swamped by cliches, gauzy sentimentality, and dialogue stuffed with grandiose statements that borders on the perfumed.

There are masks, a Jacobean castle, stories within stories and a tasteful fantasy patina, but the film rarely convinces — at times it feels less like a folktale than a very expensive fragrance advert. Performances are serviceable, with Emma Corrin bringing the most texture as the loyal maid, and Amir El-Masry intriguing as the morally wayward husband.

Still, despite its progressive intentions, this retelling never quite comes alive. For me, it’s a miss.
LB
In cinemas February 6