Richard Hartley

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A Man Called Ove review – tiresome tale of an old grump

A Scrooge-like character spends his life railing against his neighbours – and trying to kill himself – in a drama that’s not funny, or sad or interesting

In This Corner of the World review – 1940s Japan through the eyes of a teen

A girl is married off to a boy she barely knows in this rich but unfocused anime

By the Time It Gets Dark review – engrossingly mystical Bangkok protests drama

This fascinating, enigmatic feature confidently leaps down the conceptual rabbit hole to mix a historic massacre with transcendent forests and telekinesis

Slack Bay review – hilarious high jinks on the beach

Bruno Dumont’s wacky, macabre crime comedy, starring Juliette Binoche and Fabrice Luchini, is very strange and very funny

After the Storm review – bittersweet family comedy

Three generations clash in Hirokazu Koreeda’s gentle, witty film

The Shepherd review – modern-day western brings pain to Spain’s plains

This thriller about a reclusive loner who comes under pressure to sell his land showcases the film-making craftmanship of Jonathan Cenzual Burley

I Am Not Madame Bovary review – slow boat from China

An overlong Kafkaesque comedy drama about a woman’s bid to save her reputation runs out of steam

The Other Side of Hope review – wry refugee comedy

A Syrian asylum seeker finds friendship with a hapless Finnish restaurateur in part two of Aki Kaurismäki’s migrant trilogy

I Am Not Madame Bovary review – smart satire cuts through China’s bureaucracy

Fan Bingbing is on fine form as an obstinate divorcee-to-be in a singular film that is ultimately worth the effort it requires

I Am Not a Witch director Rungano Nyoni: ‘The chief Whatsapped his people to find our star’

The Welsh-Zambian director’s debut feature is premiering at Cannes: an everyday story of choosing between life in a travelling witch camp or being transformed into a goat

The Other Side of Hope review – coolly comic take on the refugee crisis

Aki Kaurismäki’s tale of a Syrian refugee who stows away to Finland mines the deadpan humour he’s famous for while refusing to flinch from heartbreak and hardship

Radiance review – a poignant vision of the power of sight

In Naomi Kawase’s gentle, thoughtful story, a photographer with deteriorating eyesight meets a woman who writes audio descriptions for the visually impaired

24 Frames review – a mesmeric glimpse into Abbas Kiarostami’s mysterious mind

The Iranian director has produced a posthumous marvel with this bizarre, experimental ghost-film that even puts his hated cinema seats to decent use

Inversion review – compelling Iranian drama

Family and duty come into conflict in Behnam Behzadi’s tale of a woman torn

Un Beau Soleil Interieur (Let the Sunshine In) review – Juliette Binoche excels in grownup film

Inspired by, but not adapted from, Roland Barthes, Claire Denis’ new film about a single woman living alone in Paris is a sophisticated delight

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About

  • About Richard Hartley
  • Richard Hartley’s Work
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Film & Tech News

  • Texas environmentalists lose bid to block Musk’s SpaceX from closing beach
  • ‘Once my tummy stopped shaking, I was absorbed by the scale, spectacle and wonder’: your Steven Spielberg film favourites
  • Key Trump allies and Musk on leaked list for secretive Peter Thiel retreat
  • ‘How do I deal with my rage? I put it in everything I do’: Killing Eve’s Sandra Oh on fury, friendship and hitting her prime in midlife
  • Social media bans are trending. But it’s too late for my son and me
  • Skeleton of the world’s rarest marine mammal preserved by digital imaging
  • A viral doomsday scenario aims to shake Europe out of its AI complacency
  • Granta stops publishing short story award winners over AI controversy
  • From Toy Story 5 to The Bear: your complete entertainment guide to the week ahead
  • I dived into my digital past to revisit my most cringe teenage moments – and realised how lucky I am to not be young and online today
  • Can we electrify the world? Ambition moves from nerdish backwater to centre stage
  • The Guardian view on John Williams and Steven Spielberg: a partnership that changed cinema
  • The Rev Michael Humphreys obituary
  • 45 Years review – Gabriel Byrne and Geraldine James mark an anniversary for the ages
  • How Refugee Week film festival brings migrants’ experience home
  • The best 4K wireless TV streamers for more choice – with no aerial required
  • The UK’s social media ban for under-16s has just empowered big tech
  • Luca Guadagnino’s Sam Altman movie dropped by Amazon after it announces OpenAI partnership
  • Read a book? Join a club? Stare at a wall? Social media alternatives for under-16s
  • ‘It’s a scam’: Americans express unease over SpaceX’s influence on retirement savings
  • Bologna’s niche festival of forgotten films captures the streaming generation
  • Anya Taylor-Joy will make a brilliant elf assassin in Hunt for Gollum. But it’s a movie we don’t need
  • Jennifer Siebel Newsom’s new film shines a light on the human cost of unregulated social media
  • Avatar: Fire and Ash to Project Hail Mary – the seven best films to watch on TV this week
  • You can handle the truth! Why cinema suddenly loves conspiracy theories
  • On the trail of the dotcom queen: how Julie Meyer left a pattern of unpaid bills, missing funds and broken dreams in her wake
  • Telegram questioned by Ofcom after arsonist who targeted Starmer-linked properties recruited on app
  • In the Hand of Dante review – Gerard Butler is jaw-dropping in bizarre Renaissance mafia reverie
  • The Crunch: Climate refugees, visualising Elon Musk’s wealth, and the many ways to analyse the World Cup
  • California ‘billionaire tax’ makes ballot despite opposition from tech moguls

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