far and away the most intriguing and impressive new release of the week is lynn + lucy, the feature debuted from writer fyzal boulifa. you know in school there was a lot of rumours about you two. like that you were lesbians. screen newcomer roxanne scrimshaw joins seasoned professional nichola burley in the respective title roles as friends who became inseparable at school and now live in houses opposite each other. we love this song. this is our song. sorry, tim. having raised a ten—year—old daughter, lynn is delighted when lucy has a child of her own. an event which seems to bring them closer together. but when terrible tragedy befalls lucy's new family, lynn finds himself torn between loyalty to her friend and the suspicions of locals looking for an easy scapegoat.

we have to talk about what happened. is lynn right to suspect her for my best friend of being a bad mother? or is she simply taking the chance to increase her own standing to emerge from lucy's shadow? people should know what you've been through. originally inspired from a real—life news story, this is an extremely powerful film that approaches a provocative subject with tact, insight, and sensitivity. have a look in there. interesting. described by its creator as a tale of absolute judgement made in a world of ambiguity, it is an entirely convincing portrait of characters trapped by circumstance, turning against each other in times of crisis. a very contemporary subject. you know what they use to call you at school? the pig. having won numerous plaudits for his short films, boulifa establishes himself as a major new voice as a major new voice in british cinema. astonishing too that this is roxanne‘s first role. a role she took on after having been

scouted through facebook. on this evidence we can expect to see much more of both roxanne and boulifa in the future. i see a decent person. lynn + lucy is on bfi player now along with other platforms and i recommend you check it out as soon as possible. it is shaping up as one of my favourite films of the year. from britain to tokyo, with a new movie by german film—maker werner herzog, family romance llc. a stranger than fiction tale of a japanese company who hire out surrogate friends and relatives for weddings, parties, funerals, and perhaps something more. we open with a meeting between a young girl and her estranged father. actually the real—life chief of the real—life company on whom the film is based. during the course of

the drama which looks weirdly like a documentary, we see this chameleon—like character pretending to be a railway station employee in order to take on the shame of a worker who let a train leave early and organising real these performances are, an issue which the strange hybrid form of herzog's films seem to mirror. i've been a devoted fan of herzog since the days of fitz and god from epping will step down the fearless film—maker pushing himself and cast to the limits. nobody cares about my films. for example,... in 2005 when i was interviewing herzog about his documentary grizzly man, he barely blinked when he got shot with an air rifle on camera. insisting that we continue our conversation since this was not a significant bullet. it is not an everyday thing but it doesn't surprise me to be shot at.

it is arguable that family romance llc is not a significant herzog film. balance whimsically between fact and fiction as it worries away at a world in which personal relationships have become commodified business transactions. even at a slender 89 minutes, the film seems rather overstretched, but i will be honest, i will watch anything with herzog's name on it for better or worse. you can find family romance llc on movie. mummy, i missed you. british actor and model alex petifa first made movie headlines as the star of storm breaker, the not very well received adaptation of anthony horwitz‘s alex ryder novel and since then he is featured in hits like magic like and mrs like the 2014 to remake up in the smart.

now he made his directorial debut with back roads and brilliantly twisted a psychodrama with the novel by tony odell, who also cover the screenplay. the taxes are due in two weeks. i don't have any of it. what are you talking about? i can afford it. i can't afford it. what part did you understand? alex is harley, a troubled soul whose dreams are going to call whose dreams of going to college are dashed when his mother played by juliette lewis killed his abusive father. leaving him to care for three sisters. young jody, troubled misty and 16—year—old firebrand amber, per trade with manic energy by nicola peltz. it is a tough life made tougher by the fact that harley has followed for an older married woman, yet cannot escape the incestuous ties of a family whose relationships are to put it kindly labyrinthine. if you know something about anyone, tell me. why? set in rural pennsylvania, shot in louisiana, back roads was first developed as the project for fatal attraction director adrian line who now shares screenplay credits. it is interesting to wonder what line would have made of it, whether he would've brought a more

mainstream gloss to what is now and earnestly overought exercise in doom laden sub gothic melodrama. like the house of usher but with fewer laughs. alex plays every scene with a look of a man carrying the weight of the world on his shoulders. clearly relishing the opportunity to put his pretty boy reputation behind him and dig nhis fingers into something darker, if not necessarily deeper. you are so upset. ijust wanted to help. to his credit, the director does a serviceable job of directing although the script which leaves no plot twist unturn remains simultaneously overcooked and underwhelming. a few weeks ago saw the uk streaming release of the county, a terrific icelandic drama that blended jet black comedy with tragedy and triumph. now we have the digital release of a white white day, which was iceland's entry for the international feature film category at the 92nd academy awards.

he is a mesmerizing presence as the police chief traumatised by the death of his wife who becomes vengefully obsessed by the discovery that she may have been having an affair. seemingly channeling his grief into the construction of a house in which his daughter and granddaughter may someday live, our increasingly bedraggled antihero wrestles with the pent up emotions that he refuses to reveal during supposed therapy sessions. instead, he becomes filled with rage and suspicion, lashing out in unexpected ways that alarm his friends and colleagues alike. this is gripping if not wholly satisfying stuff, effective in chilly isolation, but like essential character, but like its central character, rather hard to embrace emotionally. thanks be to the for

this food before us. door knocks. enter. the wanderers return. equally peculiar is fannie lye delivered, the oddity that plays out in cromwell as england the years following the beheading charles the first. charles dance and maxine peak star as the shropshire farmers whose home was turned upside down by the arrival of strangers spouting radical mantras about personal and sexual freedom. with chaotic results. i can explain. let him speak, sir. writer director thomas clay, whose debut featured the great ecstasy of robert carmichael provoked walk—out at the cannes film festival in 2005, described this movie

as a puritan western inspired by the ideas of christopher hill's book the world turned upside down and the look of michael's michael's heaven's gate. having spent three years in post production, it is technically impressive, boosted by an atmospheric score by the director himself which draws us deep into the strange and changing world. it may not be quite the masterpiece that clay intended, but for all its flaws it is a film with a vision, albeit a vision that not everybody will want to see. i will leave you with news of two films which have recently arrived on dvd and blu—ray. if you want to chase people avoiding tax, why not go after the big boys? look at apple and amazon, starbucks. are you chasing me? it is not them. i suggest google. how much tax did google pay? not very much. this is nick. he is chronically in my life. from director michael winterbottom, comes greed, a broad stroke with nods towards greek tragedy

inspired by the real antics of philip green. steve coogan is slimy rag trade mogul richard mccready, a portrait of indulgence, planning a lavish birthday celebration on the island of mykonos. she's in your face. i want it in my face. the film is in an easy mix of farce in global politics, not one of his best worth it for coogan‘s wall tooth performance. jackson. use it to get some food, maybe a run. you're going to offer me money and they tell me what to do with it? more low—key is the public, the thought—provoking drama directed by leading man emilio estevez about a library that becomes the centre of a homelessness protest. overlooked at cinemas, it deserves to find a wider range on disc. to find a wider audience on disc. that is it for this week. thank you for watching the film review. stay safe and i will be back next

week with more cinema treats. how bad is it? cleavage click bait. it said i'm the tit this time. hello. whilst for many of us, that day turned windier, cloudier, much wetter as well, there are always exceptions — and for kent today, well, the skies stayed broken even into the afternoon. there were some sunny spells around, but even here, we are likely to see a bit of rain before the day is done — slipping its way southeastward to those areas that have stayed dry for much of the day. into the weekend, this flood of moist air coming in from the south west with plenty of cloud around to start the weekend, and some outbreaks of rain, that will continue for some of us overnight. where it's been so very wet across parts of scotland, actually, it will be drier overnight. some chilly, clear spells into northeast scotland, but a really warm and muggy night underneath that cloud cover for much of england and wales. it stays windy, as it will be into tomorrow — with a lot of cloud around. again, some outbreaks of rain, more especially into the north and west.

very patchy in nature, not falling with the same intensity as it did today. if you get to the east of high ground, you may get to see a few sunny spells. if you do, it will feel quite warm and humid out there — despite the wind gusting from around 30—a0 mph. it gets windier still overnight and into sunday. you can see by looking at the big picture here,