tue 17/09/2024

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 Real Thing, Old Vic review - Stoppard classic keeps on giving

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Sing Sing review - prison movie with an abundance of heart

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Only the River Flows review - damp noir

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Mnemonic, Olivier Theatre review - thanks for the memories

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Kinds of Kindness review - too cruel to be kind

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Furiosa: A Mad Max Saga review - just as mad without Max

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People, Places and Things, Trafalgar Theatre review - a scintillating shot in the arm

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La Chimera review - magical realism with a touch of Fellini

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Minority Report, Lyric Hammersmith Theatre review - ill-judged sci-fi

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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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Donohoe, Roscoe, Stoller Hall, Manchester review - two great...

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Here comes the flood: Bob Dylan's 1974 Live Recordings

Lighters at the ready, because here comes the flood. Drawn from 16-track tape, 1/4in reels and lo-fi sound board cassettes that are now a half...

Wang, Lapwood, LSO, Pappano, Barbican review - grace and pow...

It takes stiff competition to outshine Yuja Wang, who last night at the Barbican complemented her spangled silver sheath with a disconcerting pair...

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The taxi cab has become a recurring motif in modern Iranian cinema, perhaps because it approximates to a kind of dissident bubble within the...

Beethoven Sonata Cycle 1, Boris Giltburg, Wigmore Hall revie...

A happy, lucid and bright pianist, a forbidding Everest among piano sonatas: would Boris Giltburg follow a bewitching, ceaselessly engaging first...

The Band Back Together, Arcola Theatre review - three is a d...

We meet Joe first at the keys, singing a pretty good song, but we can hear the pain in the voice – but is that...

Music Reissues Weekly: Sean Buckley & The Breadcrumbs

Although Dagenham’s Sean Buckley & The Breadcrumbs are less than a footnote in the story of beat boom-era Britain, appearances on archive...

The Critic review - beware the acid-tipped pen

The setting is the lively 1930s London theatre world, but any sense that The Critic will be a lighthearted thriller should soon be...

Van Gogh: Poets & Lovers, National Gallery review - pass...

Van Gogh: Poets & Lovers includes many of his best known pictures and, amazingly, it is the first exhibition the...