Contributor Sophie Monks Kaufman

A young woman with long hair sitting at a desk, her hands raised in the air, gesturing expressively. The image is set in a restaurant or cafe setting, with a sign visible in the background.
Festivals

Mona Lisa and the Blood Moon – first-look review

by Sophie Monks Kaufman

Ana Lily Amirpour returns with a blissed-out, techno-powered riff on the time-honoured superhero movie.
A man with a beard and closed eyes, wearing a white shirt.
Festivals

Sundown – first-look review

by Sophie Monks Kaufman

Mexican cine-sadist Michel Franco returns with another cravenly bleak drama about life as a pageant of eternal suffering.
Woman with curly brown hair and serious facial expression, wearing a green jacket.
Festivals

The Lost Daughter – first-look review

by Sophie Monks Kaufman

Olivia Colman displays her dark side in Maggie Gyllenhaal's sun-bleached psychodrama about motherhood in crisis.
Two men wearing cowboy hats conversing by candlelight in a dimly lit room.
Festivals

The Power of the Dog – first-look review

by Sophie Monks Kaufman

Jane Campion doesn’t so much dissect masculinity as explode it in her dirt-smudged adaptation of Thomas Savage’s western.
Three young adults, two men and one woman, standing in a grassy area with buildings in the background.
In Praise Of

Why I love Elizabeth Olsen’s performance in Martha Marcy May Marlene

by Sophie Monks Kaufman

Before she became a bona fide movie star, Olsen announced herself as an actor with fearless instincts in Sean Durkin’s directorial debut.
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Festivals

Little Palestine (Diary of a Siege) – first-look review

by Sophie Monks Kaufman

Abdallah Al-Khatib’s extraordinary documentary captures daily life in the largest Palestinian refugee camp.
Woman singing on stage with fairy lights in the background, performing at a dimly lit venue.
Festivals

Bergman Island – first-look review

by Sophie Monks Kaufman

A masterful dissection of love, memory and autobiography from the ever-wonderful French maestro, Mia Hansen-Løve.
Two men in high-visibility jackets, one seated on a stretcher, the other standing beside him, in a night-time urban setting with a vehicle in the background.
Festivals

La Fracture – first-look review

by Sophie Monks Kaufman

A small domestic tiff spirals out into city-wide civil war in Catherine Corsini’s comedy-infused political drama.
A white horse in a dark, shadowy field, with glowing eyes and mouth visible in the low light.
Festivals

Cow – first-look review

by Sophie Monks Kaufman

Andrea Arnold successfully adapts her social realist mode to minutely chronicle the life of an average dairy cow.
Elderly man and young woman engaged in close conversation.
Festivals

Everything Went Fine – first-look review

by Sophie Monks Kaufman

François Ozon takes a light-hearted look at the banality and bureaucracy of assisted suicide in his misfiring latest.

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