England
Justine Elias
There are no white-sheeted ghosts in this year’s A Ghost Story for Christmas. The BBC’s annual adaptations of MR James’s best-known stories have been a holiday favourite since the 1970s.More recently, in the hands of writer-director Mark Gatiss (pictured below), the series has been mining dread from the work of authors less well known for horror: Arthur Conan Doyle, for last year’s Lot 249, and Edith Nesbit (author of The Railway Children and Five Children and It) for this year’s tale, which is based on Man-Size in Marble. In the new adaptation, titled Read more ...
Gary Naylor
It is not just Twelfth Night, it’s Twelfth Night, or What You Will in The Folio, a signpost of the choices the inhabitants, old and new, of Illyria must make. Perhaps it’s also an allusion to Will’s own choices as an actor/playwright in the all-male company who cross-dressed (and maybe more) as women and girls without batting an eyelid. As is so often the case with the comedies, the great entertainer doesn’t hesitate to smuggle in a soupçon of transgressive psychology under cover of farce.We open on a young woman clambering out of the sea, shipwrecked but unbowed, soon seeking employment Read more ...
Graham Fuller
There's a tension in Alfred Hitchcock’s early films between misogyny and condemnation of the patriarchal suppression of women. The suppression was inherent in the original sources from which The Pleasure Garden (1926), Easy Virtue (1927), Champagne (1928), The Manxman (1929), Blackmail (1929), Juno and the Paycock (1930), and The Skin Game (1931) were adapted. Unconscious or not, the gynophobia that also flickers in these films is shared by The Lodger (1926), Downhill (1927), and Rich and Strange (1931). That it's intensified in Hitchcock's mature work, culminating in Psycho (1960) Read more ...
Justine Elias
From James I’s campaign to wipe out witchery to the feuding sister sorceresses of The Wizard of Oz and the new film musical Wicked, spellcasting by supposedly wayward women has never been able to avoid persecution and misunderstanding.British filmmaker Elizabeth Sankey, who admits a childhood fascination with TV's “good witches”, like Bewitched's Samantha Stephens (Elizabeth Montgomery), recently found a deeper, more disturbing kinship with such figures. After the birth of her son, now three years old, Sankey suffered depression so severe that she spent months in a mother-baby Read more ...
Justine Elias
Marie Curie excepted, movies about female scientists remain scarce, not just because STEM careers and Nobel Prizes still favour men. Now comes the British-made Joy, which explores women’s contributions to a decades-long quest to cure infertility.This cozy historical drama traces the leadup to the birth of so-called “test-tube baby” Louise Brown, the first person conceived outside the womb, with an emphasis on the behind-the-scenes work of a woman who helped make it happen. Along with Dr. Robert Edwards, an embryologist, and Dr James Steptoe, an ob-gyn, Jean Purdy, a nurse and laboratory Read more ...
Nick Hasted
The Oblong Box is a phantom 1969 follow-up to Michael Reeves’ Witchfinder General, sharing star Vincent Price and much cast and crew, after the brilliant young British director’s OD forced his dismissal days before shooting. It also began replacement Gordon Hessler and co-writer Christopher Wicking’s own Price-starring horror sequence, notably the bizarre, Mod anti-fascist Scream and Scream Again (1970), placing this obscure film at a packed cult crossroads.Witchfinder General’s savage account of Matthew Hopkins’ 17th century East Anglian rampage had been dragooned into AIP’s Poe-Price cycle Read more ...
Helen Hawkins
“Previously on Wolf Hall…” It’s been nine years since Claire Foy memorably trembled her way to the block as Anne Boleyn, recapped at the start of the second and final season of the BBC’s handsome Hilary Mantel adaptation. It’s a deathbound affair for all, though.The author herself is now dead; the original actor playing the Duke of Norfolk, Bernard Hill, as well, with Timothy Spall taking his place. Henry VIII’s pustulant leg has reduced his gait to an ominous slow limp; Jane Seymour – whom, the cross-cutting in Peter Straughan’s script suggests, he seems to be marrying concurrently with Read more ...
Graham Fuller
There’s a jolt or a surprise in almost every shot in Andrea Arnold’s Bird – her most impacted and energised depiction of underclass life yet. Photographed by Robbie Ryan, it’s a visual tour de force, one of the most exhilarating British films of 2024, but the affecting story it tells is undermined by its fleeting embrace of magical realism and the climactic swoop of a deus ex machina.Despite these caveats, Arnold remains British cinema’s most trenchant and influential portrayer of neglected, endangered girls and young women living in brutal or inhospitable environments. Claire Oakley’s Make Read more ...
Helen Hawkins
All three seasons of Industry are now on iPlayer, and after watching the most recent one and then backtracking for another look at the other two, I am still in two minds about it. With its forensic display of a toxic world where people are viewed as “capital” and anomie is the prevailing mode, is it masterly drama or an overheated mess? The pat answer would be, it’s both. Those two options become intertwined and indistinguishable the more you watch. Stylistically, it has a winning hand in its presentation of bouts of drink and drug-fuelled sex, wounding betrayals, vicious workplace Read more ...
Sarah Kent
The Bloomsbury group’s habit of non-binary bed-hopping has frequently attracted more attention than the artworks they produced. But in their Vanessa Bell retrospective, the MK Gallery has steered blissfully clear of salacious tittle tattle. Thankfully, this allows one to focus on Bell’s paintings and designs rather than her complicated domestic life.The first picture you encounter was painted during a family holiday in Cornwall and dates back to 1900, the year before Bell became a student at the Royal Academy. Two thatched cottages cling to a steep slope by the sea. Punctuated only by the Read more ...
Nick Hasted
The missing element is magic, the swooning sense of the romantic, spiritual and supernal which Michael Powell’s partnership with Emeric Pressburger found in the British and especially English soul, sharpened by Hungarian Pressburger’s fascinated love for his exile’s home.These five minor, pre-Archers films don’t fairly define Powell’s role – his elemental, important The Edge of the World (1937) also predates British cinema’s equivalent of Lennon meeting McCartney. Mostly made as subsidised, cheap native “quota quickies”, they show an apprentice director’s vigorous cinematic fluency and Read more ...
Tim Etchells
Forced Entertainment is a theatre company based in Sheffield, touring original performances around the world. The core group of 6 artists has been working together for 40 years, often inviting others to collaborate on particular projects. From the outset we wanted to make a different kind of theatre, incoporating influence from music, cinema, visual art, stand-up and performance art as well as from experimental theatre. The idea was to make theatre to speak about the times in which we were living, in a language born out of those times. The shows vary: lots of talking or none, loud music or Read more ...