The film is adapted and directed by film-maker Ramin Bahrani from the 2008 Booker prize winning novel by Aravind Adiga. The two are old friends from student days in America and have been talking about making the film ever since Adiga first had the idea for the story.
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As she did in her 1998 film which was set against the bloody conflicts of the 1947 borderlines conflict between India and Pakistan, Canadian/Indian director Deepa Mehta once more looks at personal relationships against the background of civil war.
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While theatres up and down the country have been struggling in the last couple of months to create socially distanced pantos for Christmas, back in lockdown summer actor/director and former Blue Peter action man Peter Duncan was wondering what he could do to save the 2020 panto season.
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Viggo Mortensen, who makes his feature film writing and directing debut here, was inspired to make the film by memories of his relationship with his own late father.
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As you may well know from stories in the press, the title refers to nationwide drug dealing networks, which persuade and coerce children into trafficking drugs from the cities to country and coastal areas.
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Love Child is a remarkably intimate documentary, filmed over six years, which tells the story of a refugee family from Iran and their years spent in limbo in Turkey waiting for the UNHCR (United Nations High Commissioner for Refugees) to process their application for refugee status.
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Despite its PG certificate this latest version, which has a slightly different take on Frances Hodgson Burnett’s classic tale, is perfectly suitable for adults.
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This beautifully made and very affecting film is a labour of love by its director François Ozon, who has dreamed of making it ever since he read the novel on which it is based, when he was a teenager.
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Moving a long way away from the 19th century vampire tale on which this is based, writer/director Emily Harris in her solo feature film debut has adapted the story into one of female sexual suppression and discovery.
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This film in many ways mirrors the director’s own experience, in that when Hong Khaou was a baby his Cambodian Chinese family fled from the Khmer rouge in Cambodia, initially to Saigon (now Ho Chi Minh City).
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