Editors' Choice·Film and Television·Short Films The Intimacy Coordinator (review): Louisa Connolly-Burnham’s short film is bold in its perspective and bursting with potential by Zachary Thompson 26th September 2026
Film and Arts Festivals·Film and Television Ithaqua (FrightFest) review – a rush to action shatters much of the tension and horror of the opening act in Walker’s movie by Zachary Thompson 30th August 2026
Editors' Choice·Film and Television·In Focus Drowning by Numbers (1988): Greenaway’s painterly fairy-tale of three women, three murders, and the endless games of men by Zachary Thompson 16th August 2026
Film and Arts Festivals·Film and Television Tunnels: Sun in the Dark (Fantasia Film Festival) review – an immersive, subterranean war drama lost in its own labyrinth by Zachary Thompson 30th July 2026
1 Ebenezer (review): West’s love of horror creates a spooky, wickedly atmospheric feel that Depp’s overacting frequently undercuts
2 Prima Facie (review): Susanna White’s film adaptation of Miller’s powerful and urgent stage play never quite finds its cinematic voice
3 The Male Gaze: Good Vibrations (review) – seven stunning coming-of-age short films exploring good vibrations, expectations, and excitations
4 Nero (review): Andrew Barth Feldman’s captivating performance drives the London production of Sater and Sheik’s musical
5 Christmas Theatre Guide 2026: Our live guide to theatre, events and colourful family shows this festive season
6 La Bola Negra (review): Javier Calvo and Javier Ambrossi’s film is an ode to LGBTQ+ resilience, both historical and contemporary
7 The Great British Theatres Awards, organised by Theatres Trust, announce the winners of the inaugural awards at a star-studded ceremony
8 Wild Horse Nine (review): Anchoring this funny, poignant mix of gallows humour and rumination is John Malkovich’s best performance in years
9 TV Choice: From tropical seas to open oceans and the deep, Blue Planet III on BBC One ventures deeper beneath the waves than ever before
10 Wicker (review): Fischer and Wilson’s film dilutes its strengths with passive protagonists, and storytelling as flaunting as it is meandering
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