A couple of months ago, I was talking to a friend about whether there was space for another film mag on the market. Something with a left-field approach that would differentiate it from the the blockbuster coverage offered by Empire and Total Film. Something with a passionate, knowledgeable approach – but falling to the populist side of Sight And Sound or Little White Lies. I would (and do) buy all of those titles, but it still felt like there was a gap in there for some smart publisher to get established.
And now, that gap has been filled by Filmstar – and I’m writing for them. So are lots of other people: Filmstar is heavingly stuffed with words about films. Everything gets a review. There are seven or eight in-depth features, the recurring features are similarly detailed, and it all comes over in the style of a conversation with a friend who knows (and loves) everything about movies.
But just because it’s text-heavy doesn’t mean the look has been neglected. Art editor Karl Jaques has given it a super-sharp design that balances all the content brilliantly, with smart little touches that hold everything together. In the main features, for example, each one gets a slightly different font for the page furniture. Lars von Trier is a cheery-sinister grunge typeface; Inglourious Basterds is an uncompromising sans-serif on searing red; and (my favourite) a feature on serious-comedy movies gets a big-top treatment. You also can see in the thumbnails the way that colour is used to set the tone of every feature (obviously, the Antichrist spreads are as black as the pit of von Trier’s soul).
In Filmstar 3, I review Norwegian zomcom Dead Snow (and interview the director), art-house recreation of 70s skinflicks Viva, Michael Moore polemic Slacker Uprising, noodle romance The Ramen Girl, bleak and witty Turkish morality tale Three Monkeys, and (yes!) Robert Pattinson gay-off Little Ashes.