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Mae Martin’s Feel Good is a rom-com about addiction and queer identity that’s more interested in staying together than it is in the honeymoon phase.

Enter to win a copy of Peterloo: Witnesses to a Massacre and a copy of Seventh Row’s ebook on the Mike Leigh film Peterloo in Process: A Mike Leigh Collaboration + a gift copy of Peterloo in Process to email to the friend of your choice.

In this episode, Editor-in-Chief Alex Heeney and Executive Editor Orla Smith have a wide ranging conversation about film criticism with Lindsay Pugh of Woman in Revolt.

From Water Lilies to Portrait of a Lady on Fire, we analyse 10 of Céline Sciamma’s best scenes, revealing what makes her a master. This is an excerpt from our ebook, Portraits of resistance.

In this episode, we compare and contrast three adaptations of Emma: The 2020 Autumn de Wilde film, the 2009 BBC mini-series, and the 1996 Douglas McGrath films. We discuss the films’ differing approaches to characters, comedy, and class. Special guest Caitlin Merriman joins Executive Editor Orla Smith and episode host Editor-in-Chief Alex Heeney.

Kelly Reichardt’s latest film about the myth of the American West, First Cow, follows two men searching for a better life elsewhere that’s always just slightly out of reach.

Our very own Editor-in-Chief Alex Heeney will be introducing the Queerly Beloved screening of Sciamma’s Tomboy at the Paradise on Saturday, pulling from our recent ebook on Céline Sciamma. To celebrate, we’re giving away a pair of tickets to see the film!

Lana Condor is the shining light at the centre of disappointing sequel P.S. I Still Love You. Why is she the perfect rom-com heroine in the To All the Boys series?

Ken Loach and Mike Leigh, two long time British directors, are frequently compared to each other, despite having significantly different approaches. In this episode, Editor-in-Chief Alex Heeney is joined by Executive Editor Orla Smith and Associate Editor Brett Pardy to discuss how Loach and Leigh approach politics, character, and much more.

Rosie McCaffrey discusses why Katharine Isabelle’s performance in American Mary is one of her favourites by an actress in a horror film.

Matthew Pope’s Blood on Her Name is a steely, psychological thriller about cycles of violence. Now available in cinemas and on VOD in the US.

Kristen Stewart uses physical tics as pointedly as lines of dialogue. Her artificial, artfully rendered oddness reveals something naturalism could not.