Graham Fuller

2 weeks ago | theartsdesk.com | Graham Fuller

Horror comes in many forms. In writer-director Jed Hart’s feature debut Restless, it’s visited on middle-aged nurse Nicky (Lyndsey Marshal) by thirtyish Deano (Aston McAuley), the superficially affable toxic male who moves in next door with two mates and holds raves in their living room, “all night and every night”. A single mother whose son has just left for university, Nicky is pressed by her boss to work extra shifts at the understaffed care home for the elderly that employs her.

2 weeks ago | theartsdesk.com | Graham Fuller

Horror comes in many forms. In writer-director Jed Hart’s feature debut Restless, it’s visited on middle-aged nurse Nicky (Lyndsey Marshal) by thirtyish Deano (Aston McAuley), the superficially affable toxic male who moves in next door with two mates and holds raves in their living room, “all night and every night”. A single mother whose son has just left for university, Nicky is pressed by her boss to work extra shifts at the understaffed care home for the elderly that employs her.

3 weeks ago | theartsdesk.com | Graham Fuller

“Be careful what you wish for, you might get it.” The Aesop-ian maxim roughly applies to Jérémie Pastor (Félix Kysyl) in Alain Guiraudie's Misericordia. Though unemployed Toulouse baker Jérémie doesn’t acquire the business that was run by his deceased mentor Jean-Pierre, the film’s ambiguous ending suggests he might still share it with the widow, Martine (Catherine Frot). Unless or until the gendarmes come calling.

3 weeks ago | theartsdesk.com | Graham Fuller

Joshua Oppenheimer made his name directing two disturbing documentaries, The Act of Killing (2012) and The Look of Silence (2014), that dealt with the aftermath of the brutal anti-communist massacres in Indonesia in 1965-66. Those films addressed how people lie to themselves in order to live with guilt and trauma. Oppenheimer's first fiction film, The End, is a radical continuation of the same idea.

3 weeks ago | theartsdesk.com | Graham Fuller

On the spoken word LP Loose Talk, Amelia Barratt reflects on her or other women’s experiences, real or imagined, over enhanced tunes drawn from Bryan Ferry’s demos, some from early in his career. To hear his instantly recognizable sound applied to a female sensibility, especially that expressed with such confiding intimacy by the painter, writer, and performance artist Barratt, makes for a unique and satisfyingly unsettling listen.