We Bury the Dead review – Daisy Ridley tackles the undead in solid zombie twist

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Star Wars alum gives an impressively modest performance in this slightly smarter-than-average survival tale Unlike some other less resilient horror subgenres, the zombie movie is, fittingly, never going to really die. Neither will film-makers attempting to add their own twist, understandable given how repetitive the die, wake up, lumber, bite and repeat formula has become. Australian director Zak Hilditch’s attempt, the rather buried We Bury the Dead, is therefore not quite as striking as it might have seemed a decade and change ago. Using words such as “contemplative” and “mournful” to describe a film that includes its fair share of gnarly head-smashing has become something of a cliche, so much so that last month’s meta-comedy Anaconda reboot had its characters joke that these days, even a film about a giant snake needs “intergenerational trauma” to work. But Hilditch mercifully avoids drowning his film in drab self-seriousness. Yes, it’s a zombie survival thriller that’s also abo...
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Infinity According to Florian review - mission to save Ukraine’s extraordinary modernist masterpiece

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Oleksiy Radynski chronicles the visionary architect Florian Yuriev’s drive to rescue Kyiv’s Institute of Information from destruction after he was given weeks to live

The extraordinary mind of Florian Yuriev, a visionary Ukrainian architect and artist, visualises an astonishingly holistic view of the world. His abstract paintings brim with geometric colourful shapes and patterns that also carry a sonic component, as each shade has their own tonality. On his piano, whose keys are marked with their designated colours, Yuriev played out his painterly compositions, breaking down the barrier between sound and vision. Shot towards the end of Yuriev’s life, Oleksiy Radynski’s passionate documentary follows the architect’s tireless efforts to save one of his modernist masterpieces from destruction.

Once deemed impossible to build, his design for a cultural centre that later became Kyiv’s Institute of Information reflects the utopian optimism of the space age. Nicknamed the “Flying Saucer” building for its futuristic look, the structure features a disc-shaped theatre perched on a horizontal glass-and-steel hall. With their high ceilings and cavernous curves, the interior of the auditorium evokes a sense of calm and openness. The equilibrium, however, is interrupted by construction noises coming from outside: an intrusive shopping mall might soon merge into Yuriev’s design.

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