Contributions from Alexandria Slater | Little White Lies

Contributor Alexandria Slater

Young girl with tousled red hair wearing a dark coloured top, looking intently at the camera.
Review

Love According to Dalva

by Alexandria Slater

Bel­gian film­mak­er Emmanuelle Nicot approach­es the sub­ject of child sex­u­al abuse with great sen­si­tiv­i­ty in her debut feature.

3
Anticipation
4
Enjoyment
4
In Retrospect
A woman lying on a couch, wearing a green dress, with her eyes closed and a pained expression on her face.
The Oscar Goes To...

Why Corsage deserves the Best Make-Up & Hairstyling Academy Award

by Alexandria Slater

Helene Lang and Maike Hein­lein smart­ly utilise Sis­si’s per­son­al styling to empha­sise the ways in which she was repressed and sub­se­quent­ly rebelled.
Silhouetted hikers against sunset sky, rugged terrain in background.
Festivals

Bruiser – first-look review

by Alexandria Slater

Miles War­ren explores the dichoto­my of nature vs nur­ture through a lost teenager’s long­ing for pater­nal guidance.
Two people, a woman and a man, facing each other with serious expressions.
Festivals

Prisoner’s Daughter – first-look review

by Alexandria Slater

Bri­an Cox plays a dying con­vict try­ing to free him­self from the prison of his past through for­give­ness of his daugh­ter in Cather­ine Hardwicke’s for­mu­la­ic fam­i­ly drama.
A young girl with shoulder-length brown hair wearing a black coat and purple shirt, looking directly at the camera with a serious expression.
Festivals

Love According to Dalva – first-look review

by Alexandria Slater

Emmanuelle Nicot paints an aching­ly beau­ti­ful por­trait of friend­ship, recov­ery and iden­ti­ty through a young girl’s sex­u­al abuse story.
Two young women, one with blonde hair and the other with dark hair, sitting at a table with candles and a framed photograph in a dimly lit room.

Sixties sexploitation swings back in Edgar Wright’s Last Night in Soho

by Alexandria Slater

By dredg­ing up harm­ful stereo­types from the past, the film under­mines its post-#MeToo fem­i­nist narrative.