film directors
Nick Hasted
A longshot of transgender Elvira (Volker Spengler) circled by gay men, assignation turning to assault as dawn mist rises from Frankfurt’s Main river, suggests Pasolini’s brutal 1975 assassination. Rainer Werner Fassbinder instead had in mind the suicide of his lover Armin Meier in May 1978.“He was like a wounded animal recoiling in pain,” his editor and last partner Juliane Lorenz recalls, withdrawing for a month to a friend’s flat, and finally emerging with a treatment for In a Year of 13 Moons. The finished work is bracketed by its dates of filming, 24 July 1978-28 August 1978, like a Read more ...
John Carvill
Patrick McGilligan’s biography of Woody Allen weighs in at an eye-popping 800 pages, yet he waits only for the fourth paragraph of his introduction before mentioning the toxic elephant in the room: i.e. the sad fact that, despite never having been charged with – let alone convicted of – any crime, Allen in 2025 is, to all intents and purposes, cancelled.So let’s deal with that first. The reason for Allen having suffered what McGilligan calls “the living death of being declared an unperson” has transmogrified over the years. Initially, he was weighed in the balance of public opinion and found Read more ...
Gary Naylor
In Italy, they did it differently. Their pulp fiction tales of suburban transgression appeared between yellow covers on new stands and spawned the influential Giallo movies of the Sixties and Seventies, gory exercises in an offbeat, highly stylised film language – cult movies indeed.The USA took its transgressive tales of domestic non-bliss and drew upon the language of Hollywood film noir to make short television plays, often lacing the arsenic in the tea with a soupçon of black comedy. They branded it with the master of suspense, the man who could delve into psychologies that other Read more ...
Nick Hasted
Tobe Hooper changed cinema with The Texas Chain Saw Massacre (1974) for pennies in rancid Southern heat, but came closest to a mainstream Hollywood career a decade later, following the hit Spielberg collaboration Poltergeist (1982) with his biggest budget from hack mavericks Cannon Films. He characteristically determined to “make it as wild as I can”.Based on British Beat writer Colin Wilson’s novel The Space Vampires, Lifeforce (1985) is indeed one of its decade’s most unhinged, far out films. Infamous and too easily dismissed for 18-year-old French ballerina Mathilda May’s mostly nude queen Read more ...
Nick Hasted
François Ozon is France’s master of sly secrets, burying hard truths in often dazzling surfaces, from Swimming Pool’s erotic mystery of writing and murder in 2003 to the teenage boy cuckooing his way into his middle-aged mentor’s life in In the House (2012).Sexuality, gender and love itself prove variously slippery in The New Girlfriend (2014) and the violently different twins of L’Amant double (2017), while feminist equality powers Potiche (2010), the provincial Seventies comedy of umbrella factory strikes and elections with a sparring Depardieu and Deneuve. Ozon’s comfort Read more ...
Nick Hasted
Tobe Hooper’s The Texas Chain Saw Massacre (1974) was uniquely disturbing, with its monster Leatherface’s first primal eruption to hang a victim on a meat-hook rivalling Psycho’s murders for shock and fright. It was only as the bludgeoning effect faded on subsequent viewings that the film’s pitch-black comedy became clear.With a ferocious singularity of mood and purpose bred by its micro-budget, hothouse shoot, it cast a Citizen Kane-like shadow over Hooper’s subsequent career, despite the landmark TV scares of Salem’s Lot (1979) and the smash-hit Poltergeist (1982), which now seems a true Read more ...
Nick Hasted
Longlegs’ trapdoor ending snapped tight on its clammy Lynchian mood, reconfiguring its Silence of the Lambs serial-killer yarn into a more slyly awful tale. Osgood Perkins’ hit fourth horror film seemed sure to elevate his career, but follow-up The Monkey is a resolutely minor, down and dirty B-movie, relishing cartoon gore and comic excess.Stephen King’s 1980 short story “The Monkey” combined his observation of scary streetcorner wind-up toy monkeys with the bad luck charm of WW Jacobs’ classic “The Monkey’s Paw” (1902), in a story really about protagonist Hal’s fraught family 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 ...
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 ...
Nick Hasted
The camera is the ghost in Steven Soderbergh’s 35th feature, waiting in a vacant house for its buyers, ambitious Rebecca (Lucy Liu, pictured bottom), her favoured teenage son Tyler (Eddy Maday), cowed husband Chris (Chris Sullivan) and troubled daughter Chloe (Callina Liang, pictured below). Presence is a ghost story from the ghost’s point of view, piecing together who and why it’s haunting as it eavesdrops on the fractured family.Soderbergh’s elliptical editing proffers a gradual, jigsaw portrait in scenes of parental boozing, rival siblings and Rebecca’s legal laxity. Chloe is meanwhile Read more ...
Nick Hasted
David Lynch’s final two features mapped a haunted Hollywood of curdled innocence and back-alley eeriness. Mulholland Drive (2001) seemed the ultimate LA noir, till Inland Empire (2006) dug into deepest Lynch. The eighteen fallow big-screen years preceding his death this week show the loneliness of his vision in his medium’s conformist capital, which he nevertheless adored. “It’s kind of a trick in the light [that] is magical,” he said of his adopted hometown’s allure. “It gives you the indication that anything is possible. It’s critical for me to feel that light.”Mulholland Drive’s opening Read more ...
Adam Sweeting
As Bono once commented about Luciano Pavarotti, “the opera follows him off stage”. Legendary soprano Maria Callas would have known exactly what he meant, and she herself said “an opera begins long before the curtain goes up and ends long after it has come down.”Pablo Larraín’s Maria completes his trilogy of films about famous and charismatic women at critical moments in their lives, the others being Jackie Kennedy (Jackie, 2016) and Princess Diana (Spencer, 2021). It picks up the daunting challenge of evoking the life but above all the myth of La Callas, one of a handful of opera legends who Read more ...