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UrbanObserver
Sunday 14th September 2025
Oxford's oldest independent student newspaper, est. 1920
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Tag:
film
oxford
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review
Oxford University
culture
music
theatre
politics
oxford union
Troublingly telegenic: Oxford in film
Priya Khaira-Hanks takes issue with the extent of Oxford’s fictional presence.
Hollywood: Beyond the Pale?
David Lawton feels it’s time to reject Hollywood’s regime of systematic oppression once and for all
Cinema’s Resurrection?
Ellie Siora on how innovative screenings must challenge ‘passive’ binge-watch culture, after attending an all-night Wes Anderson marathon
Review: Love and Friendship – both modernised and faithful
Stillman’s adaptation successfully captures Austin and puts others to shame, writes Zach Leather
I, Daniel Blake: a working class triumph
Jem Bartholomew hopes Ken Loach’s Palme d’Or win can revolutionise our national welfare debate
Review: OBA Film Festival showcase
James Riding casts an eye over the most ambitious films in Oxford student filmmaking at the OBA’s annual screening
Web Series World – The Lizzie Bennet Diaries
Let's start at the very beginning...
The Age of Photoshop?
Daniel Curtis laments the decline of the quality film poster, but sees many reasons to be optimistic for the future
Linking Linklater’s Latest
Jake Kennedy identifies time as the common thread in Richard Linklater’s work
Representing The Impossible
Cinema will never be able to represent the horrors of the Holocaust, but Son of Saul offers a sensitive try, writes Jem Bartholomew
Review: the OBA Easter Projects
Louise Howland dissects Sunday’s OBA student film screening, praising their indie feminist zeal
Oliver’s Twist: Ru Paul’s Drag Race
Oli is back and getting into drag racing
Review: My Big Fat Greek Wedding 2 – like microwave moussaka
Comedies based on stereotypes are ripe for criticism, but Miriam Nemmaoui managed to see beyond this, finding her own family represented in the Portokalos’
Review: Hush – a cat and mouse fight to the death
Hush negotiates the established conventions of the home-invasion horror concerning female victimhood, writes Louise Howland
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