Film
Tom Baily
It is probable that no other document gets closer to the direct experience of frontline workers and victims of Covid-19 than the documentary 76 Days. It is also true that the film is not very enjoyable. Nor, sadly, does it feel especially unique. Worn by news fatigue, most viewers might feel that they are watching an extended news feature, rather than a feature film. Yet it does contain a strange power that is hard to pin down.That 76 Days was made in the first place is something of an achievement. New York-based director Hao Wu had planned to film in Wuhan at the start of the pandemic but Read more ...
Tom Birchenough
Catalan director Albert Serra’s interest in late 18th century France is well established – his previous film was The Death of Louis XIV – but the title of his new one has precious little to do with the triadic revolutionary slogan that swept away the French monarchy at the end of it. If Liberté celebrates freedom in any sense, it’s that of libertinage, libertinism, the rejection of moral and especially sexual restraints that was being celebrated at the time by the Marquis de Sade, whose philosophical presence is a commanding one here (alongside, cinematically, Pier Paolo Pasolini, whose final Read more ...
Mark Kidel
Volker Schlöndorff’s brilliant adaptation of Günter Grass’s 1959 novel The Tin Drum hasn’t aged one bit: just as the book and film’s main character Oskar Matzerath decides that it’s better not to grow old, the film’s phenomenal zest feels as fresh today as when it was won the Palme d’Or in Cannes and Best Foreign Film Oscar in 1979.Set in Danzig (now Gdansk), Günter Grass’s home town, a crossroads between East and West, both German and Polish, the story takes place in the years leading up to the city’s take-over by the Nazis in 1933, World War 2 and its immediate aftermath. Oskar is a Read more ...
Matt Wolf
Noel Coward's 1941 comedy was one of the theatrical casualties of the first lockdown last March in a Richard Eyre-directed West End revival that aimed to mine the pain beneath this play's abundance of bons mots. And now as if to pick up the baton, along comes a film remake of the same source from the director, Edward Hall, whose father, Sir Peter Hall, was Eyre's predecessor running the National Theatre. Hall senior once directed a fizzing West End revival of Coward's Hay Fever starring Judi Dench, but lightning hasn't struck twice, at least in the transfer from stage to screen Read more ...
Tom Birchenough
Veteran Russian director Andrei Konchalovsky has gone back to his beginnings for his latest film. The real-life events on which Dear Comrades! is based took place in June 1962, when social unrest over rising prices saw strikes break out in Novocherkassk, an industrial town in Russia’s south, culminating in street protest against the Soviet regime. The very idea of such an uprising was, of course, anathema in the “workers’ paradise” that was the communist system, and it was brutally suppressed by the Kremlin. The extent of the casualties was concealed, the dead secretly buried, and the events Read more ...
Graham Fuller
The Night Porter depicts the consuming sadomasochistic love affair of an SS officer, Max (Dirk Bogarde), and the Catholic woman, Lucia (Charlotte Rampling), whom he both tortures and protects when she is a teenage concentration camp inmate, and who becomes his partner in a protracted liebestod when they meet by chance in Vienna 12 years after the war’s end. Think of it as the anti-Casablanca.in 1957, Max is the eponymous hotel employee, ashamed of appearing in daylight, and Lucia is the decorous wife of a famous American conductor. They are drawn together again by mutual desire and guilt Read more ...
Joseph Walsh
In 1964, Cassius Clay, NFL superstar Jim Nathaniel Brown, soul legend Sam Cooke and political firebrand Malcolm X gathered for one night in a dingy room at the Hampton Motel. It was a meeting that became a symbol of hope for black Americans. A photo, taken by Malcolm X would make the moment iconic, marking a shift away from the horrors of Jim Crow America to the passing of the Civil Rights Act. The events of that evening became the basis of Kemp Powers' 2013 play, and now form the directorial debut for Oscar-winning actress Regina King, who most recently played Sister Night in HBO’s Read more ...
Markie Robson-Scott
This is not a film to watch if you’re pregnant. One of the first scenes, a 24-minute continuous take of a home birth that ends in tragedy, is extraordinarily powerful and painful to watch – almost unbearable sometimes – and Vanessa Kirby as Martha, groaning and growling her way through a very realistic labour, is brilliant and unforgettable.Director Kornél Mundruczó and his wife, writer Kata Wéber (White God, Jupiter’s Moon), wanted to share something of their own similar experience of loss and originally wrote a version for the stage – it premiered in Poland in 2018. But Wéber wanted to Read more ...
Sarah Kent
This is one of the saddest films I’ve ever seen. It follows the fortunes of Peyangki, an 18-year-old Buddhist monk living in a monastery high up in the mountains of Bhutan. This is the second documentary made by Thomas Balmès about this endearing young man. The first film, Happiness won an award at the Sundance Festival in 2014 and Sing Me a Song opens with footage from Happiness of the eight-year-old Peyangki sharing his hopes of going into retreat one day and becoming a fully-fledged lama. At the time, this remote spot was about to be opened up to the outside world and the young novice Read more ...
Adam Sweeting
The motor racing passion of movie star Steve McQueen is well documented, from his motorcycling exploits in The Great Escape to the rubber-burning car chase around San Francisco in Bullitt to his weird but mesmeric sports car odyssey Le Mans. Less widely known, however, was his plan to shoot a movie about Formula One during the mid-Sixties.This would have been called Day of the Champion, was to be built around specially-shot footage from races in the European F1 season, and would be based on photojournalist Robert Daley’s book The Cruel Sport (1963), which probed the dark side of a glamorous Read more ...
Tom Birchenough
The title of Swedish director David Färdmar’s feature debut gains a degree of helpful context from one of its opening lines, “But there’s no more we”. One partner, Hampus (Jonathan Andersson), is telling the other, Adrian (Björn Elgerd), that whatever feelings may remain between them, their life as a gay couple, their coexistence and cohabitation of some years – the element that has made them we – is over. That essence is perhaps told more succinctly in the title of Färdmar’s 2018 short film, simply No More We, an impressionistic, work-in-progress abbreviation over 14 minutes of Are We Lost Read more ...
Tom Birchenough
One of the world’s leading architectural photographers, Julius Shulman was the subject of a show at London’s Photographers’ Gallery this autumn, “Altered States of America”. That title surely alluded to the visual modernism that changed the face of that country over the course of the 20th century, which Shulman, working in close tandem with the architects concerned, captured over a career of almost eight decades, in California especially.Visual Acoustics, Eric Bricker’s documentary about that career, was originally released in 2008, the year before Shulman died, just a year or so short of his Read more ...