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The 2020 Mostly British Film Festival kicked off last weekend in San Francisco with great films from the UK and beyond, including The Delinquent Season, Hearts and Bones, and Sorry We Missed You.

How is the romantic film genre changing? Find out, as editor-in-Chief Alex Heeney and Executive Editor Orla Smith discuss a recent trend of films about the finite nature of romances – including site favourites On Chesil Beach, Call Me By Your Name, Portrait of a Lady on Fire, and more.

Catherine Gund’s Aggie is both a celebration of an extraordinary woman, and a call to arms for the viewer to think about how they too can enact change.

Gothic horror Amulet is a promising directorial debut from actress Romola Garai, but the screenplay is too ambitious for its own good.

1917 is an awards favourite, but its blocking is the real reason we wanted to discuss it. In this episode, Editor-in-Chief Alex Heeney is joined by Associate Editor Brett Pardy and special guest Debbie Zhou

Rather than positioning Les Misérables and Just Mercy as retellings, Ladj Ly and Destin Daniel Cretton engage with modern France’s and America’s relationships to classic texts.

Amanda Kernell’s second feature, Charter, toys with the reliability of the protagonist’s perspective, who is herself uncertain, in this psychologically complex study of a broken family.

Ariane Labed speaks about her background as a dancer and why she sees directing as a natural extension of her work as an actress.

In this episode, we compare and contrast two film adaptations of Little Women: Gilian Armstrong’s 1994 film and Greta Gerwig’s 2019 one.

Noémie Merlant shines as a woman in love with a fairground ride, but Jumbo lacks psychological insight into the real phenomenon of Objectum Sexuality.

Okavango: River of Dreams is a stunningly photographed nature documentary about the ecosystem in and around the Okavango in Africa.

Rodrigo Ruiz Patterson’s Summer White is a haunting story about a toxic mother-son relationship that gets interrupted by her new beau.