Film
Demetrios Matheou
Just like Britain’s ‘stiff upper lip’, that indominable spirit in the face of adversity, Brazil has a dominant personality trait – open-hearted, ebullient – that tends to obscure the reality of its many social, economic and political travails. There’s also a part of the Brazilian national psyche that resists reflection, which is why, perhaps, its filmmakers have dwelled less on their years under military dictatorship, between 1964 and 1985, than you might expect and certainly less memorably than, say, their counterparts in Argentina and Chile. But now Walter Salles, one of his Read more ...
graham.rickson
In Jewish folklore, a golem is an inanimate clay figure, brought to life when a magic word is placed inside its mouth. Piotr Szulkin’s dark 1979 film debut makes reference both to this legend and to Gustav Meyrink’s unsettling 1914 novel, moving the action forward from the latter’s fin-de-siècle Prague to a geographically non-specific dystopian future.Tomasz Kolankiewicz’s booklet essay describes Szulkin and co-screenwriter Tadeusz Sobolewski’s struggling to adapt the Meyrink, Szulkin’s Golem ultimately becoming “a philosophical riddle about our true identity”, clearly alluding to “the day-to Read more ...
Nick Hasted
In his first weeks in office, Harrison Ford’s US president survives an assassination attempt inside the White House, goes to war with Japan and mutates into Red Hulk when he gets mad, trashing said White House with a Stars and Stripes flag-holder. How unrealistically reasonable this looks, you may wistfully think. If only Ford, or a 10-foot monster, was in charge.Captain America has often been a political figure, sharing his comic’s title with black superhero the Falcon in the Seventies while uneasily confronting black civil unrest and Vietnam, the simply patriotic World War Two hero bearing Read more ...
Katie Colombus
Having recently watched the charming animation Marcelle The Shell With Shoes On with my nine-year-old son, I was going to suggest for our next movie night we check out Memoir of a Snail. Jolly fortunate that I didn’t, as this is a very different film, recommended for viewers 16+.Please don’t confuse this with your average Pixar lest your small folk be somewhat befuddled by stop motion on themes of swingers, loneliness, fat-fetish pervs, suicide, dark religious cults, bullying, guinea pigs reproducing at a calamitous rate and other such traumas.That being said, the above is somewhat Read more ...
James Saynor
The Refugee Movie is rapidly becoming a genre unto itself, with elements of suspense and humanism woven together into something that’s very properly cinematic.Films like Io Capitano and Green Border, tracking the tragic migrant trail to and through Europe, prick consciences and sweat palms in equal measure, but those two fine examples from last year were made by European directors on helicopter missions, as it were, to raise consciousness and to mine fresh seams of character.To a Land Unknown is a story of Palestinian refugees actually made by a Palestinian, Mahdi Fleifel, and it’s an Read more ...
Helen Hawkins
Bridget Jones has grown up: v.v.g. Our heroine is still prone to daft pratfalls and gaffes and bursts of sensational idiot dancing. But passing time has lent her an enhanced self-awareness that has nothing to do with calories consumed. This Bridget can bring the pinprick of tears to the eyes as well as make you laugh.The first generation of Bridget fans, like her creator Helen Fielding, are now in their sixties and beyond, and possibly experiencing, like Bridget (and Fielding), the loss of a partner through divorce or death. Bridget’s beloved Mark Darcy (Colin Firth, pictured below with Read more ...
Nick Hasted
Iranian director Mohammad Rasoulof is now an Oscar-nominated refugee, in a bittersweet harvest for his film The Seed of the Sacred Fig.The 52-year-old has previously probed the moral cost of his country’s dictatorship in Manuscripts Don’t Burn (2013), A Man of Integrity (2017) and There Is No Evil (2020), work where characters suffer and snap, or refuse to participate in repression at great cost. Routinely banned at home, work right up to Sacred Fig was shot in secret, brave guerilla cinema now necessarily common in Iran.Faced with eight years’ jail, flogging and seizure of property for Read more ...
graham.rickson
Akira Kurosawa’s mastery of different genres is a given and one of High and Low’s strengths is a seamless blending of various styles within a single film. Though highly rated by Japanese critics, this 1963 adaptation of an Ed McBain 87th Precinct crime novel has been long overlooked, High and Low taking in corporate politics, familial tensions and a thrilling race to catch an enigmatic villain.Kurosawa regular Toshiro Mifune plays Kingo Gondo, a senior executive at National Shoes. He's at odds with other board members seeking to cut costs by producing cheap, short-lived footwear (“shoes must Read more ...
Markie Robson-Scott
“You know what they say: where there’s livestock, there’s dead stock,” says Jack (a brilliant Barry Keoghan). Never a truer word. There’s an awful lot of dead and maimed stock – sheep, to be precise – in Christopher Andrews’ gory, gloom-ridden directorial debut. Animal lovers will want to avert their eyes. The film is undeniably powerful, with fine performances, but the unremitting violence ends up feeling cartoonish and empty.Set in the west of Ireland, the mountainous landscape is magnificent. Its sheep-farming inhabitants, not so much. In the first scene, a flashback, Michael ( Read more ...
Demetrios Matheou
There’s a common understanding about journalists, especially ones at the top of their game, that they’re flying by the seat of their pants – propelled by adrenalin, deadlines, ambition and, just occasionally, righteousness.September 5 encapsulates all of that, bar the virtue perhaps, and with the concrete deadline replaced by another practical pressure – of live broadcast – and the ethical decisions that arise when the story in front of the camera is literally one of life or death. Tim Fehlbaum’s film is based on the terrorist attack on the 1972 Summer Olympics in Munich, in which Read more ...
Nick Hasted
Kurosawa’s 1949 thriller probes post-war morality in a Tokyo whose ruins and US occupation mostly remain just out of shot, in a heatwave causing mistakes and madness. The theft of callow detective Murakami (Toshiro Mifune)’s police pistol on a crowded trolleybus and his guilty hunt for what becomes a murder weapon provide the narrative, and sharp-featured young Mifune’s coiled performance, alternating mimed grace with feline fierceness, is the arrow carrying it to its bruising conclusion.Kurosawa and Mifune are still defined in the West by Rashomon and Seven Samurai, breakthrough Fifties Read more ...
David Nice
A colleague once told me that I shouldn’t take Mike Leigh’s films with contemporary settings as slices of everyday life. He was right: they’re hyperreal. Especially Hard Truths, in which his take on a woman both depressed and angry – it’s possible to be both more or less simultaneously – packs years of grievances and unacceptable verbal abuse into a very short period of time.Fortunately Marianne Jean-Baptiste is on hand to elevate the attacks to sacred monster level – plenty of laugh-out-loud lines, and I won’t spoil what fun's to be had by quoting any – and to make the pathos real. Pansy‘s Read more ...