fri 29/03/2024

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

Dr Semmelweis, Harold Pinter Theatre review - a play in search of a bedside manner

Read more...

Mission: Impossible - Dead Reckoning Part One review - buckle up

Read more...

Air review - great fun but no slam dunk

Read more...

God's Creatures review - Irish drama with a touch of Greek tragedy

Read more...

1976 review - dark, chilly Chilean thriller

Read more...

Women, Beware the Devil, Almeida Theatre review - bewitching, up to a point

Read more...

Tár review - a towering Cate Blanchett conducts a classic

Read more...

Demetrios Matheou's Top 10 Films of 2022

Read more...

A Christmas Carol, The Old Vic review - more poignant, and more joyous than ever

Read more...

London Film Festival 2022 - women's voices powerfully to the fore

Read more...

London Film Festival 2022 - supermodels, juntas and toxic dust clouds

Read more...

John Gabriel Borkman, Bridge Theatre review - amusing tale of awful people

Read more...

Don’t Worry Darling review - dystopian thriller dries up in the desert

Read more...

Walking with Ghosts, Apollo Theatre review - a beguiling Gabriel Byrne opens up

Read more...

Nope review - more a nope than a yep

Read more...

Bullet Train review - not really a first class ticket

Read more...

Pages

latest in today

Bach's Easter Oratorio, OAE, Whelan, QEH review – the j...

Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter...

Album: Jane Weaver - Love In Constant Spectacle

“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced...

First Person: author-turned-actor Lydia Higman on a play tha...

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead...

The Origin of Evil review - Laure Calamy stars in gripping F...

A young woman (Laure Calamy; Call my Agent!; Full Time; Her Way) is trying to pluck up the courage to call her...

Foam, Finborough Theatre review - fascism and f*cking in a G...

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet...

Album: Ride - Interplay

What a time to be alive it is for fans of late Eighties, early Nineties ...

Schubert Piano Sonatas 4, Paul Lewis, Wigmore Hall review -...

“Death doesn’t scare me at all,” said my friend Christopher Hitchens during our last telephone conversation. “After all, it’s the only certainty...

Vossa Jazz 2024 review - Norwegian festival embraces William...

“The name of this group is Mayan Space Station.” In spite of the billing as The William Parker Trio, their bassist – coolly introducing himself as...

First person: playwright Paul Grellong on keeping pace with...

I’m writing this in the lobby of the...