Our Fault review – ultra-glossy Spanish step-sibling melodrama is too bland to be annoying

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Third film adapted from the romance novels by Mercedes Ron, originally written in Spanish, feels clunky and cliched This is the third film in a series, after My Fault in 2023 and Your Fault in 2024 , that have been adapted from the Culpable trilogy, romance novels by Mercedes Ron, originally written in Spanish. It’s obviously aimed at a specific market that expects a certain blend of melodrama, softcore sex and lush lifestyle porn, and (more importantly) is invested already in the trilogy’s story. Given those parameters, it probably delivers – although the dialogue, at least judging by the subtitles, is super clunky and cliched. Complete outsiders coming to this cold may be a little baffled by what’s going on, since this concluding instalment makes no effort to fill in any blanks. But even total newbies will get the gist that heroine Noah (Nicole Wallace) still has feelings for her ex Nick (Gabriel Guevara) – who also, somewhat disturbingly, was once her stepbrother, although their ...
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Pray for Our Sinners review – the Irish campaigners who took on brutal church abuse

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Inspirational documentary recovers the stories of those who dared to question the treatment of children in a small Irish town

Irish film-maker and journalist Sinéad O’Shea has a gripping and inspirational story to tell about her home town of Navan in Co Meath, and she tells it terrifically well, talking to the people involved, engaging with the history, delivering the drama and teasing out the poignancies and complexities.

O’Shea is speaking to the people who stood up to church abuse in the 60s and 70s, at a time when challenging the Catholic authorities seemed unthinkable. There can hardly be anyone left now who doesn’t know something about Ireland’s coming to terms with the historical abuse sanctioned by the church and its treatment of young pregnant women in the brutal mother-and-baby houses and Magdalene Laundries, the subject of movies such as Stephen Frears’s Philomena and Peter Mullan’s The Magdalene Sisters. These were the workhouses of shame, or perhaps the refineries in which guilt and fear were extracted as fuel for the theocracy. Schools were the same, with their incessant beatings, carried out by unmarried men who had of course been beaten and humiliated themselves in their formative years: a theatre of cruelty where the punishment was the point. (England has nothing to be smug about: we had teachers routinely assaulting children in front of other children for reasons they perhaps couldn’t explain to themselves.)

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