bourgeois family who, behind the facade, there are foul lurking secrets and the cast includes isabelle huppert—louis trintignant and tobyjones — our very own tobyjones. as with all haneke‘s work, it's engrossing, it's creepy, it's unsettling, but there's also a very strange sense of deja vu. there's a thing early on with video phone footage that reminds me of benny's video, a very early film of haneke‘s. there's some other stuff which has got surveillance—type footage which makes you think of cache, of hidden. there's also a strange kind of left—turn referral back to amour and the weird thing about all those films i've just cited, when we first saw them they were startling, they were original, they were surprisingly. this isn't. it's well—made. .. haneke knows how to get brilliant performances out of actors, he knows how to make something feel creepy and strange without quite telling you what it is. but it did feel like we were retreading old ground. i think he's a great film—maker but this is that weird thing. to me this felt like... and i never thought i'd use it, an incidental haneke film.

bourgeois family who behind the facade, there are foul lurking secrets and the cast includes isabelle huppert—louis trintignant and tobyjones, our very own tobyjones. as with all haneke's work, it's engrossing, it's creepy, it's unsettling but there's also a very strange sense of deja vu. there's a thing early on with video phone footage that reminds me of benny's video, a very early film of haneke's. there's some other stuff which has got surveillance type footage, which makes you think of cache, of hidden. there's also a strange kind of left turn referral back to amour and the weird thing about all those films i've just cited, when we first saw them they were startling, they were original, they were surprisingly, this isn't. it's well—made. .. haneke knows how to get brilliant performances out of actors, he knows how to make something feel creepy and strange without quite telling you what it is. but it did feel like we were retreading old ground. i think he's a great filmmaker but this is that weird thing, but to me this felt like... and i never thought i'd use it, and of incidental haneke

dutch director paul verhoeven coaxed an oscar—nominated performance from french icon isabelle huppertrsial drama about a parisian businesswoman playing cat and mouse with a violent assailant. in by the time it gets dark, thai film maker anocha suwichakornpong used the infamous atrocities of october 1976 as a jumping—off point for a kaleidoscopic meditation on past and present, truth and fiction, cinema and memory. a performance of tremendous wit, vitality and lusty defiance by sonia braga drove brazilian film—maker kleber mendonca filho's aquarius, a portrait of a woman refusing to be bullied out of her seafront apartment by developers. professor. thank you so much. italian film—maker luca guadagnino scored a critical hit with call me by your name, which many have named their favourite film of the year. in february, hungarian film—maker ildiko enyedi scooped the top prize at the berlin film festival with on body and soul, a brilliantly bizarre tale of two misfits finding dreamy love against the stark backdrop of an abattoir. one of the most uncategorisable films to be released in uk c

dutch director paul verhoeven coaxed an oscar—nominated performance from french icon isabelle huppertrsial drama about a parisian businesswoman playing cat and mouse with a violent assailant. in by the time it gets dark, thai film maker anocha suwichakornpong used the infamous atrocities of october 1976 as a jumping—off point for a kaleidoscopic meditation on past and present, truth and fiction, cinema and memory. a performance of tremendous wit, vitality and lusty defiance by sonia braga drove brazilian film—maker kleber mendonca filho‘s aquarius, a portrait of a woman refusing to be bullied out professor. italian film—maker luca guadagnino scored a critical hit against the stark backdrop of an abattoir. one of the most uncategorisable films to be released in uk cinemas in 2017 was i am not a witch, a remarkable zambian story from writer— director and british independent film awards winner rungano nyoni. margaret mulubwa stars as the young girl who is accused of being a witch and given a stark choice — to accept her supernatural branding and live a tethered life as a sorceress, or to

dutch director paul verhoeven coaxed an oscar—nominated performance from french icon isabelle huppertilant. in by the time it gets dark, thai film maker anocha suwichakornpong used the infamous atrocities of october 1976 as a jumping—off point for a kaleidoscopic meditation on past and present, truth and fiction, cinema and memory. a performance of tremendous wit, vitality and lusty defiance by sonia braga drove brazilian film—maker kleber mendonca filho's aquarius, a portrait of a woman refusing to be bullied out of her seafront apartment by developers. professor. thank you so much. italian film—maker luca guadagnino scored a critical hit with call me by your name, which many have named their favourite film of the year. in february, hungarian film—maker ildiko enyedi scooped the top prize at the berlin film festival with on body and soul, a brilliantly bizarre tale of two misfits finding dreamy love against the stark backdrop of an abattoir. one of the most uncategorisable films to be released in uk cinemas in 2017 was i am not a witch, a remarkable zambian story from writer—director

bourgeois family who behind the facade, there are foul lurking secrets and the cast includes isabelle huppertour very own tobyjones. as with all haneke's work, it's engrossing, it's creepy, it's unsettling but there's also a very strange sense of deja vu. there's a thing early on with video phone footage that reminds me of benny's video, a very early film of haneke's. there's some other stuff which has got surveillance type footage, which makes you think of cache, of hidden. there's also a strange kind of left turn referral back to amour and the weird thing about all those films i've just cited, when we first saw them they were startling, they were original, they were surprisingly, this isn't. it's well—made. .. haneke knows how to get brilliant performances out of actors, he knows how to make something feel creepy and strange without quite telling you what it is. but it did feel like we were retreading old ground. i think he's a great filmmaker but this is that weird thing, but to me this felt like... and i never thought i'd use it, and of incidental haneke film. itjust felt like, "0k, there