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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Mark Kermode on… Martin Scorsese’s love of British cinema

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The director’s new BFI season championing hidden gems of British film, hot on the heels of his Powell and Pressburger documentary, reveals some of the inspirations of a film-making great and passionate fan

This weekend, the BFI Southbank in London begins a season of films entitled Martin Scorsese Selects Hidden Gems of British Cinema. Among the treats that caught my eye are a terrific Terence Fisher double bill (1948’s To the Public Danger and 1952’s Stolen Face), Roy Ward Baker’s Dr Jekyll and Sister Hyde (1971), John Hough’s The Legend of Hell House (1973) and a rare nitrate-print screening of Alberto Cavalcanti’s dark 1942 gem, Went the Day Well?

The fact that a director whose own extraordinary CV includes Taxi Driver (1973), Raging Bull (1980), The Last Temptation of Christ (1988), Casino (1995), Gangs of New York (2002), The Wolf of Wall Street (2013) and, just last year, Killers of the Flower Moon should curate such a season may seem remarkable. But Scorsese has always been a film fan as much as a film-maker, and the movies he has championed over the years are every bit as important to him as those he has made.

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