PLEASE BABY PLEASE – Review by Leslie Combemale

The proceedings feel like a bit of a psychedelic trip without the need for acid. Andrea Riseborough as Suze literally barks and howls like a caged dog, delivering her lines with fuck-you flamboyance, as if daring the film’s audience to call her unladylike. Harry Melling’s Arthur walks an interesting line between confusion and frustration, as he outs himself little by little, vacillating between self-loathing and acceptance of his femme identity.

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MOVIE OF THE WEEK October 7, 2022: TO LESLIE

Andrea Riseborough adds yet another memorable performance to her impressive filmography in director Michael Morris’ wrenching drama To Leslie. She’s heartbreakingly vulnerable as a West Texas woman who gets one last chance to turn her life around after she squanders a $190,00 lottery win and her drinking spirals out of control. At stake is her self-respect, any hope of happiness, and her relationship with her son.

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TO LESLIE (SXSW 2022) – Review by Alexandra Heller-Nicholas

As a platform to display Andrea Riseborough’s acting chops, To Leslie is a key entry in a filmography that is only going from strength to strength. With Riseborough, this film is capital S “Something” alright, focusing as it does with razor sharp precision on questions of shame, class and redemption.

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MOVIE OF THE WEEK February 11, 2022: HERE BEFORE

Is it really possible for those we’ve loved and lost to return to us? That’s the question that grieving mother Laura (Andrea Riseborough) finds herself obsessed with in Irish filmmaker Stacey Gregg’s moody and compelling drama/thriller Here Before. Still mourning the tragic loss of her daughter, Josie, years before, Laura finds herself drawn to young Megan (Niamh Dornan) when the girl’s family moves in next door. Could Megan be more than she seems? The film seems determined to show that love, loss, and other big feelings are part of the everyday experience, for better or worse.

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HERE BEFORE – Review by Susan Wloszcyna

A haunting atmosphere engulfed with a sense of grief is everything in Irish writer-director Stacey Gregg’s unsettling thriller Here Before. Set in a damp and chilly suburb of Belfast, the story begins when a new family moves next door to Laura (Andrea Riseborough), a distraught mother who lost her daughter Josie in a car accident several years before when her husband was behind the wheel. The new neighbors’ daughter, Megan, resembles Laura’s deceased daughter.

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THE ELECTRIC LIFE OF LOUIS WAIN (TIFF2021) – Review by Leslie Combemale

If you have cats in your home as part of your family, you have Louis Wain to thank. He was the 19th century illustrator of cat images and he introduced Victorian London to the wonder and joy of cats. A socially inept, eccentric soul, Wain created paintings and sketches of anthropomorphized felines, though many of his images were of his beloved pet cat Peter. In Will Sharp’s The Electric Life of Louis Wain Benedict Cumberbatch in the title role, along with Andrea Riseborough as one of his five sisters, and Claire Foy as his beloved Emily. The film is charming, sad, has great performances, and is visually sumptuous, with some of the best costuming and makeup you’ll see this year. It has such undeniable heart, you’ll be sure to forgive it being a little overly sentimental.

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MOVIE OF THE WEEK December 4, 2020: LUXOR

Centering on a powerful performance by Andrea Riseborough, Zeina Durra’s dreamy, introspective romantic drama Luxor explores what-ifs and second chances as its characters explore ancient Egyptian ruins, finding their way to a place of connection and understanding. Riseborough plays Hana, a British doctor who’s come to the city of Luxor to rest and recuperate from the stresses of her efforts as an international aid worker.

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LUXOR – Review by Nikki Baughan

Andrea Riseborough gives a luminescent performance in Zeina Durra’s contemplative, hypnotic Luxor, her talent and poise radiating through the suppressed trauma that leaves her character, Hana, seemingly teetering on the edge of complete breakdown. A medic and aid worker, Hana is in the Egyptian city of Luxor on a much-needed break between assignments, desperately trying to drown out the horrors she has witnessed by immersing herself in the beauty of this spiritual, historical city.

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LUXOR – Review by Susan Wloszczyna

London-born Arab writer-director Zeina Durra’s Luxor is sort of a meditative throwback to the ‘60s era of art-house cinema when movies were allowed to not always fill in the plot blanks for audiences. That opened the door for viewers to insert their assumptions as to what is going on with the main character. In this case that would be Hana (never-not-watchable Andrea Riseborough).

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