Matt Goddard

1 week ago | filmhounds.co.uk | Matt Goddard

Few will be surprised to find that the title of Lotfi Achour's Red Path has multiple meanings. It starts with two cousins on a simple journey, herding goats through rocky mountain terrain, while they play and gently mock each other. But after 10 minutes, a shocking act of violence and the title screen sets its characters on several physical and emotional journeys. Red Path is a stunningly captured glimpse into a rural Tunisian family's fear and helplessness in the face of political violence.

3 weeks ago | filmhounds.co.uk | Matt Goddard

Doctor Who is a unique series in many ways, not least because it can feel saddled by its past while simultaneously brushing it off. That's been felt more acutely since the show became a BBC and Disney+ co-production. While it's meant larger budgets for the 62-year-old show, the partnership has set some of the more old-school fandom quivering.

4 weeks ago | filmhounds.co.uk | Matt Goddard

The Ritual is a good old-fashioned slow-burner. It lets its characters do the talking, and when its subject matter is the ritual of exorcism, you'd reasonably expect the talking to fall on two sides of the equation of good and evil. But anyone with shares in pea soup or Italian mopeds shouldn't get too excited. The Ritual is a purposefully domestic take on the subgenre, and it takes pains to tell us that it's based on real events.

1 month ago | filmhounds.co.uk | Matt Goddard

Towards the end of Michaelangelo: Love and Death, contemporary artist Tania Kovats notes that “genius” can often be a problematic word when it comes to artists. But it's a word she and this exhibition-paced stroll through the life and work of the Renaissance artist can't avoid. The latest Exhibition on Screen marks the 550th birthday of the towering, endlessly fascinating Michelangelo di Lodovico Buonarroti Simoni, better known by his mononym, who might just be the main Renaissance Man.

2 months ago | filmhounds.co.uk | Matt Goddard

April is a harrowing and visceral experience, but one that confidently keeps its audience at a distance. Graphic and uncompromising scenes sit alongside stunningly filmed shots of nature, leaving viewers unable to look away, but with plenty of room to think. Writer and director Dea Kulumbegashvili established herself as voice in contemporary social cinema with 2020's Beginning. April is the follow-up that cements Kulumbegashvili's reputation with a study of an individual in extremis.