Film
Justine Elias
Music, when the singer’s voice dies away, vibrates in the memory. In the hypnotic new Irish horror film All You Need Is Death, those who search for long-unheard songs crave a certain melody that works a terrible magic on the living. In this pleasingly eldritch narrative debut by documentary-maker Paul Duane, it’s unclear whether the forbidden tune will turn out to be a love ballad, a curse, or both.Either way, the movie’s heroine, Anna (Simone Collins, pictured below), thrills at the thought of discovering for herself. Though she’s the talented frontwoman of a contemporary Irish folk group, Read more ...
Markie Robson-Scott
Teenage Ulzii (Battsooj Uurtsaikh in an elegantly restrained performance) is looking after his little sister and brother in Ulaanbaatar after their illiterate mother has returned to the countryside to look for work. They’ve run out of coal and wood and it’s freezing inside their yurt. “If only we could hibernate, like bears. Never get cold, never catch the flu,” says the brother.Director Zoljargal Purevdash’s remarkable debut, the first ever Mongolian film in the Cannes official selection, features impressive non-professional actors. She put out a casting call for kids from the Yurt district Read more ...
Helen Hawkins
The Book of Clarence comes lumbered with the charge of being the new Life of Brian, an irreverent spoof of the life of Christ destined to ruffle good Christians’ feathers. It turns out not to be the “new” anything, though: it’s refreshingly sui generis, as the Romans might have said.It opens with a dramatic orchestral chord, precisely timed to arrive at the exact same moment as the opening tableau of a mass Crucifixion, hanging in the midst of which is a grimacing Clarence (LaKeith Stanfield). We then flashback to an “early Sunday morning 33AD, Lower Jerusalem”, where Clarence and his Read more ...
Helen Hawkins
Sam Taylor-Johnson has fashioned her biopic of Amy Winehouse with great care and affection, but sometimes, as she shows her subject discovering, love isn’t quite enough. The superb jazz-inflected singer from north London, who in 2011 joined the sad club of pop-culture luminaries who died at the age of 27, has already been given the documentary treatment by award-winning film-maker Asif Kapadia. Documentarists can expose their subject both visually and forensically, but a feature film has the tougher challenge of telling some of the same basic story without the mesmerising presence of the Read more ...
Adam Sweeting
Alex Garland’s fourth movie as writer/director is a chilling glimpse of an American dystopia, fortuitously timed for the run-up to the forthcoming US elections. However, it steers fastidiously clear of drawing any obvious Trump vs Biden parallels, though it’s difficult to imagine that it hasn’t imbibed any inspiration from the Maga mob’s insurrection at the US Capitol in 2021.Set in an imaginary near future, it’s the story of a group of news correspondents in the process of covering the civil war raging in the USA, in which the government forces are slugging it out with the Western Alliance, Read more ...
graham.rickson
The Teachers’ Lounge should really have been translated into English as The Staffroom, but that’s a minor gripe. Focussing on a class of 11-year-olds in a German secondary school, İlker Çatak’s Oscar-nominated feature shows school life as a microcosm of the outside world, showing what can happen “when a society, such as a school community, is poisoned with speculation and prejudices.”Leonie Benesch plays Carla Nowak, a young, newly appointed teacher. Idealistic and enthusiastic, she’s initially got her class exactly where she wants them: they’re working hard and treating her and one another Read more ...
graham.rickson
Happy End’s big draw is its central conceit, that of a convicted murderer narrating his life story backwards from the guillotine to the cradle. Made in 1967 by Oldfřich Lipský (1924-1986), renowned as a director of off-beat comedies, you wonder how on earth such a peculiar film was produced during such a turbulent time in Czechoslovak history.Lipský himself described Happy End as an experiment, “though not in the sense of the new waves…”, he and co-screenwriter Milos Macourek more worried about viewers finding Happy End incomprehensible than in any political interference. What could be a Read more ...
Saskia Baron
While Ryusuke Hamaguchi’s Evil Does Not Exist doesn’t cast a spell as strongly as his Oscar-winning hit Drive My Car, it is a thought-provoking film well worth seeing for anyone with an interest in ecology or a penchant for subtle thrillers. Hitoshi Omika plays Tamuki, a widowed dad who spends his days looking after his young daughter and doing odd jobs in Mizubiki, a village high in the mountains but only a few hours away from Tokyo. Its rural isolation – deer wander in the woods nearby, drinking water comes from a well – means that life is pretty simple for the Read more ...
Saskia Baron
Io Capitano works on several levels. At first glance, it’s a ripping yarn – two optimistic Senegalese teenagers embark on a dangerous journey, across the Sahara, through the hell of Libya and on to an overcrowded boat across the Mediterranean – all inspired by the lads’ dream of Europe. It could be watched as a terrific, occasionally terrifying adventure movie, but its Italian director, Matteo Garrone, has greater ambitions. Flights of fantasy (pictured below) are occasionally woven into the naturalistic action. In interviews, Garrone has described Io Capitano as Read more ...
Markie Robson-Scott
Before moving house, Sarah (Shirley Henderson) and Tom (Alan Tudyk) are throwing a final dinner for their best and oldest friends. Sarah wants it to be special. It turns out to be very special. Disastrous, in fact.Director Matt Winn’s black comedy of middle class manners, set in a north London house (looks like Muswell Hill, and there are shots of Alexandra Park at night) ticks lots of property porn boxes and features fine, sparky performances from its glossy cast, but it’s more like a silly, mildly amusing West End farce than anything else. Lots of bandying around of the F word, but the Read more ...
Graham Fuller
In a Dagenham hospital, Silver Haze’s compassionate nurse Franky, played by Vicky Knight, meets Florence (Esmé Creed-Miles), who’s been admitted as a patient for having attempted suicide. After Franky dumps her boyfriend, the two women begin a tempestuous affair – or is that a tautology? Since this intimate low-budget romantic drama adopts Franky’s subjectivity, it’s apt that her impressions of falling in love glow with the effects of the eponymous marijuana strain she uses to Read more ...
Nick Hasted
This is a Nineties psycho thriller in Mad Men clothes, undermining its Sixties suburban gloss and Anne Hathaway and Jessica Chastain’s desperate housewives with genre clichés, yet sustained by the courage of debuting director Benoît Delhomme’s un-Hollywood conviction.Alice (Chastain) and Céline (Hathaway) are friends and neighbours, bonding over their eight-year-old sons Theo (Eamon Patrick O’Connell, pictured bottom with Hathaway) and Max (Baylen D. Bielitz). They team up, too, over Alice’s desire to return to work in journalism, inevitably dismissed by respective husbands Simon (Anders Read more ...