Film
Daniel Baksi
Over the years, the legend of The Apu Trilogy has been much-repeated. Now widely considered India’s greatest filmmaker, Satyajit Ray was little more than a small-time commercial artist when, failing to find a sponsor for his script, he assembled what few funds he could in order to begin filming. Come the first day, Ray had never previously directed a scene, he had a still-photographer (Subrata Mitra) for a cinematographer, and a composer (Ravi Shankar) who was essentially unknown. Together, they combined to produce a set of films that have been acclaimed ever since as masterpieces of arthouse Read more ...
Owen Richards
Don’t do drugs, kids. For the past 50 years, that’s been the consistent message. But how much of what we know about psychedelics is just fearmongering? Do you really want to jump out of a window? Will you permanently lose your mind? To find out the truth behind the campaigns, writer Donick Cary dives into the real-life trips of a gaggle of famous faces for this multicoloured Netflix documentary.When you think of rock stars on drugs, you might imagine tragic scenes of excess and overdose. It’s unlikely you picture Sting birthing a cow while tripping on Mexican peyote. But this farcical tableau Read more ...
Jill Chuah Masters
The second half of Mark Cousins’ documentary on films by women filmmakers starts with religion; it ends with song and dance. This is a second seven-hour journey through cinema. It reconfirms Women Make Film as a remarkable feat of excavation and curation, as its twenty chapters showcase overlooked, excellent work by far-flung filmmakers. Hungarian filmmaker Ildikó Enyedi and Wang Ping, socialist China’s first female director, are featured alongside film-school favourites like Denis and Akerman.The actresses Thandie Newton (pictured below) and Debra Winger are lead narrators now. Their Read more ...
Joseph Walsh
Equally ambitious in scope as his 900min ode to cinema The Story of Film: An Odyssey, Mark Cousins’ latest work, Women Make Film, is a fourteen-hour exploration of the work of female film directors down the decades.Cousins’ Irish brogue no longer narrates the action, having replaced himself with the likes of Tilda Swinton (who also produces the film), Jane Fonda, Adjoa Andoh, Sharmila Tagore and Kerry Fox (at least in the first 20 chapters that this review covers). They, and Cousins, guide us on a self-described ‘road movie’, that shifts from clip to clip, Read more ...
Joseph Walsh
Like Rams before it, the ice-glazed hillsides and stark ochre grasslands of northern Iceland are the backdrop for Grímur Hákonarson’s third feature The County, a rural drama that explores the murkier side of local politics.Inga (Arndís Hrönn Egilsdóttir) is a middle-aged, tough-as-nails dairy farmer. She’s grieving for her late husband who recently committed suicide, jack-knifing his truck into a ravine. We later discover he ended his life because of punishing debts owed to a corrupt cooperative that dominates the local farming community. This leaves Igna running the farm near Dalsmynni alone Read more ...
Graham Fuller
A calculatedly nostalgia-infused town-taming Western, 1939's Destry Rides Again out-sparkled Errol Flynn's contemporaneous light “oaters" and anticipated noir-tinged classics like My Darling Clementine (1946) and The Gunfighter (1950). Because it sublimely teamed Marlene Dietrich as worldly dancehall queen Frenchy and James Stewart as pacifist deputy Thomas Jefferson Destry, it is godparent to both Dietrich's crazy Western vehicle Rancho Notorious (1952) and The Man Who Shot Liberty Valance (1962), in which Stewart also played a peace-loving outsider.Destry proves far from the milquetoast Read more ...
Daniel Baksi
There is a memorable scene in Toshio Matsumoto’s Funeral Parade of Roses (1969), in which a group of stoned hippies and cross-dressers force each other, one-by-one, to walk the length of a line of tape that runs along the floor. Those who await their turn are seen crouched below, their flailing arms beckoning the walker down from their imagined tightrope. When they fall, as they inevitably and willingly do, they are punished – with the forced removal of their clothes.This unveiling of the naked body is a symbol for exposure, a metaphor for a film that seeks to shed light on “ Read more ...
Nick Hasted
The Frankenstein-style, electrical storm-sparked resurrection of a dead baby in a hospital morgue, and her theft by its creepy attendant, is followed by a homage to Stephen King’s supernaturally potent teenagers, from Carrie to Firestarter, in a threadbare horror with consistent, curious ideas about its own B-movie realm.British director Julian Richards’ debut was the similarly meta and mediocre serial killer flick The Last Horror Movie. Here, as grown-up, corpse-grey, lightning-powered Tess discovers mum is a B-movie actress, Lena O’Neal (Barbara Crampton, pictured below), who’s shakily Read more ...
Veronica Lee
Ask any great sportsman or woman about greatness and they'll tell you it's as much achieved as made; natal talent isn't worth much if you don't practise, or are unfit, or don't have a hunger to win. But much of modern sport has become obsessed with statistics, performance levels and the crunching of numbers – many with dollar or pound signs in front.Gabe Polsky's film suggests that that approach is taking all the joy and individuality out of sport, and not just at the professional level because it has filtered down to schools. Polsky (who made Red Army) is helped to make his case by three Read more ...
Joseph Walsh
It’s fair to say that humanity’s relationship with nuclear energy over the last 50 years has had more highs and lows than a Spanish soap opera. From the Manhattan Project to Hinkley Point, it’s been a controversial technology that has promised both humanity’s salvation and damnation.Now, first-time director Vicki Lesley’s easy-going documentary explores the post-war history of nuclear power. Captured with an odd degree of lightness, she makes an otherwise heavy subject accessible. Lesley tells the history of the atom as if it were a romcom. Hiroshima and Nagasaki are swiftly brushed Read more ...
Owen Richards
Only those who really love you can deliver the hard truths, and for filmmaker Elizabeth Sankey, that one love is romantic comedies. Better known as one half of band Summer Camp, Sankey is a self-confessed romcom expert, having watched nearly every film from the 80s onwards. It was her happy place, but in this new visual essay on MUBI, she breaks down the huge number of problematic tropes that fill the genre.There are certain rules that nearly every romantic comedy abides by. There are the female-led films, with straight, middle-class, white women defined by their weight and career, until they Read more ...
Nick Hasted
When not dipping into its bottomless debts to write Scorsese blank cheques, Netflix tends to favour old-school TV movie potboilers such as this slick, silly thriller, in which young couple Katie (Camila Mendes) and Adam (Jessie T Usher) have their moral flaws picked apart by financial temptation.Katie’s work as a Chicago waitress ends in a violent robbery, while her day-job working for rich old loner Leonard (Elliot Gould, pictured below) finds her inheriting not only his lakeside mansion, but a secret treasure chest of cash and diamonds. “I’m just sick of being poor,” impetuous Adam declares Read more ...