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Phoebe Dynevor, star of Netflix’s global smash “Bridgerton,” plays the lead in Sky original “The Colour Room.” The film charts the rise to fame of Stoke-on-Trent ceramic artist Clarice Cliff, played by Dynevor. Cliff, a determined, working class woman in the 1920s, broke the glass ceiling and revolutionized the workplace in the 20th century, while

“Folk horror” is a term of relatively recent vintage — or at least popularity — that only grows more broad as “Woodlands Dark and Days Bewitched” spends three and a quarter hours trying to define it. Still, a slippery thesis doesn’t detract from the pleasures of this documentary from genre scholar and programmer Kier-La Janisse.

Beneath the eerily calm surfaces of Christine Molloy and Joe Lawlor’s terrific “Rose Plays Julie,” a transgressive story bides its time. It’s a tale that feels ancient in structure, but terrifyingly modern in detail, mapping MeToo-era revelations and a contemporary preoccupation with fractured identities onto a deceptively simple revenge plot that could have been plucked

The question of how to convey characters speaking a language other than English in a fully English-language production is one that many a director of an exotically-set Hollywood production or lumpy Europudding has faced over the years. For those who simply cannot resort to subtitles, the artifice of heavily accented English dialogue is a stilted

It’s tricky to pull off the kind of cryptic mystery labyrinth that “Broadcast Signal Intrusion” attempts, and Jacob Gentry’s film only works to a point — whatever point at which the viewer decides this thriller’s elusive menace is just too vague to generate sufficient urgency or suspense. As long as the promise outweighs the frustrating

A new documentary from Bhutan will share the Himalayan Buddhist kingdom’s unique philosophy of Gross National Happiness (GNH) with the world. Bhutan’s King Jigme Singye Wangchuk came up with the phrase in 1972 when he said that GNH is more important than Gross Domestic Product. The landlocked country with fractious giants China and India as

Legendary documentarian Wang Bing is at HAF this year with his new project “I Come from Ikotun,” which follows two Nigerian families with a foothold in the southern Chinese city of Guangzhou over the course of the pandemic. Known for his epically long, unflinching works that have previously tackled sensitive issues like China’s brutal re-education

Despite the ongoing trade war and frostier than ever ties between China and the U.S., “Detective Chinatown 3” producer and financier Shawn Yue (aka Yue Xiang) is still betting on collaboration in the film industry — though perhaps not in the way you’d expect. Chinese production budgets and visual ambitions have lately begun to outgrow

A film studio since 1920, Japan’s Shochiku has a back catalogue filled with works by master directors including Ozu Yasujiro and Kinoshita Keisuke as well as 1960s New Wave leaders Oshima Nagisa and Shinoda Masahiro and studio stalwart Yamada Yoji, maker of the enduringly popular Tora-san series. Shochiku has been digitally remastering its classics in

A late addition to the Nikkatsu lineup for FilMart is “First Gentleman,” a local co-production between Nikkatsu, Toei and Nippon TV. Directed by Kawai Hayato (“Prince of Legend”) from a novel by Harada Maha, this comedy stars Nakatani Miki (“Sweet Little Lies”) as the leader of an opposition party in Japan’s parliament. The plot moves

Japanese writer-director Ogigami Naoko has a track record of creating sensitive, emotionally-healing dramas that are serious enough to grab festival attention, but which are spirited enough to also achieve commercial releases. Her next project, “Blind Forest,” being pitched at the Hong Kong – Asia Film Financing Forum (HAF), is unlikely to stray far from that

From growing up as a film buff to becoming one of Hong Kong’s most iconic film directors, Stanley Kwan is known as a filmmaker who stays true to himself. That has earned him a 13-title retrospective screening series at the upcoming Hong Kong International Film Festival. From his 1985 directorial debut “Women” to two of

Hong Kong director Fruit Chan, who somehow manages to be an industry veteran and an enfant terrible at the same time, is currently in post-production on “Coffin Homes.” The film is a satirical horror anthology, that probes the city’s eternal housing problem, especially its micro dwellings known as cubicle apartments or coffin homes. Chan, who

Korean Oscar-winner “Parasite” gleefully poked fun at South Korea’s bourgeoisie. Hur Jin-ho’s “The Dinner” is set to give the middle classes another skewering. The project is an adaptation of Dutch novel ‘Het Diner’ (“The Dinner”) written by Herman Koch. With the setting transposed to Asia, Hur will peek under the tablecloth to uncover another dirty

To understand the ambition, talent and artistry of the Irish animation industry, it’s worth watching Cartoon Saloon’s “Wolfwalkers” on Apple TV Plus. A hand-drawn adventure set in 1650s Ireland, “Wolfwalkers” was nominated for an Oscar this week. It’s the latest in a string of Oscar nominations for Kilkenny-based Cartoon Saloon, which has previously been nominated