fri 19/04/2024

Demetrios Matheou

Bio
Demetrios Matheou is a London-based journalist, critic and author. He was the chief film critic for The Sunday Herald in Glasgow between 2004-18, and a contributing film critic for The Independent on Sunday between 2000-2016. He’s currently published in The Times, The Standard, The i, Sight and Sound and Screen Daily, among others. He is also a London theatre critic for The Hollywood Reporter. Demetrios is the author of The Faber Book of New South American Cinema, while contributing to a number of other film titles. He co-curated the retrospective season South American Renaissance for The BFI South Bank and co-founded the London Argentine Film Festival. He's served on the juries of a number of international film festivals.

Articles By Demetrios Matheou

The Dream of a Ridiculous Man, Marylebone Theatre review - from Russia with love

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Harry Clarke, Ambassadors Theatre review - an entertaining curio

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Double Feature, Hampstead Theatre review - with directors like these, who needs enemies

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Eureka review - not enough to shout about

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The House of Bernarda Alba, Lyttelton Theatre review - dazzling darkness

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Ghosts, Sam Wanamaker Playhouse review - a claustrophobic descent into purgatory

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Powell and Pressburger: Spy masters

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Lyonesse, Harold Pinter Theatre review - a step backwards for #MeToo

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Martin Scorsese's 'Mean Streets' - a triumph of personal filmmaking

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Foe review - unsettling sci-fi drama

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London Film Festival 2023 - monsters, ghosts and diabolical people

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London Film Festival 2023 - provocation, celebration and film-buzzing community

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The Creator review - bold, beautiful, flawed sci-fi epic

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Frank and Percy, The Other Palace review - two-hander fails to escape a very short leash

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anthropology, Hampstead Theatre review - AI thriller runs out of code

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Passages review - amusing, lusty, surprising Parisian love triangle

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latest in today

London Tide, National Theatre review - haunting moody river...

“He do the police in different voices.” If ever one phrase summed up a work of fiction, and the art of its writer, then surely it is this...

Jonathan Pie, Duke of York's Theatre review - spoof pol...

If you don't like sweary comics – Jonathan Pie uses the c-word liberally – then this may not be the show for you. In fact if you're a Tory, ditto...

Baby Reindeer, Netflix review - a misery memoir disturbingly...

Richard Gadd won an Edinburgh Comedy Award in 2016 with...

Machinal, The Old Vic review - note-perfect pity and terror

Virtuosity and a wildly beating heart are compatible in Richard Jones’s finely calibrated production of Renaissance woman Sophie Treadwell’s ...

Fantastic Machine review - photography's story from one...

The first photograph was taken nearly 200 years ago in France by Joseph Niépce, and the first picture of a person was taken in Paris by Louis...

Simon Boccanegra, Hallé, Elder, Bridgewater Hall, Manchester...

If ever more evidence were needed of Sir Mark Elder’s untiring zest for exploration and love of the thrill of live opera performance, it was this...

All You Need Is Death review - a future folk horror classic

Music, when the singer’s voice dies away, vibrates in the memory. In the hypnotic new Irish horror film All You Need Is Death, those who...

Album: Jonny Drop • Andrew Ashong - The Puzzle Dust

As I sat down to write this review, the sun came out. It was a salutory reminder of the importance of context: where I’d previously thought “mmm,...

theartsdesk on Vinyl: Record Store Day Special 2024

Record Store Day is tomorrow! At theartsdesk on Vinyl...

If Only I Could Hibernate review - kids in grinding poverty...

Teenage Ulzii (Battsooj Uurtsaikh in an elegantly restrained performance) is looking after his little sister and brother in Ulaanbaatar after...