film directors
Jasper Rees
There is somewhere called Leighland, where people may be ineffably sad or existentially cheerful, old or young, live in a high rise or a semi. But they are all recognisably inhabitants of the world famously conjured up over a long period of clandestine development in the now time-honoured fashion. Nothing and everything changes in the work of Mike Leigh (b 1943). However, consumers of his vast oeuvre stretching back to the 1960s will this year have had the chance to do something extremely rare: see a pair of works by Leigh in the theatre.Ecstasy opened at Hampstead Theatre in 1979 and Read more ...
Tom Birchenough
After the first two parts of Mark Cousins’s magisterial The Story of Film: An Odyssey, I’m still in two minds as to whether it’s fair to call the presenter a generalist. He has already managed to piece together details from the cinema cultures of almost every film-making nation on earth with the authority of a specialist – and that’s before his narrative has formally progressed beyond the arrival of the talkies, let alone colour. His 15-part documentary, developed from his book of the same name, looks set to give a new focus to traditional history-of-cinema surveys – and it looks different, Read more ...
Demetrios Matheou
This year’s Venice Film Festival has been awash with great directors from what one might call the old guard: David Cronenberg, Roman Polanski, William Friedkin, Aleksander Sokurov, Philippe Garrel. But when the jury presents its prizes tonight, I hope that it honours some of the new, young film-makers who have been the ones to set this festival alight.Chief amongst those has been a Brit, Steve McQueen, who follows his extraordinary debut, Hunger, with a second film that has shaken and stirred the critics here. The focus of Shame is Brandon (Michael Fassbender), a successful New Yorker whose Read more ...
Demetrios Matheou
Post Mortem is Chilean Pablo Larraín’s follow-up to the extraordinary Tony Manero, and another, even tougher take on his country’s troubled past. While the first film was a blackly comic look at the dictatorship years of the Seventies, this one deals with the coup itself. It’s a harrowing experience, but one that confirms Larrain as a major talent.The customary device for viewing atrocity is through the experience of ordinary people; indeed, the film that heralded the recent renaissance in Chilean cinema, Machuca, showed the military overthrow of Allende’s government and its aftermath through Read more ...
Demetrios Matheou
I wonder if it’s possible for a film festival to kick off with a bigger bang. For your first three competition films to be directed by one of the world’s biggest movie stars, one of its most celebrated (and controversial) auteurs and arguably the world’s most famous woman, is no mean feat. And two of these films are pretty damn good. Italy’s economy might be down there with the dregs of Europe, but its premier film festival, now in its 68th year, shows no sign of being knocked off its perch.To call George Clooney a movie star does the man an injustice, of course, since he’s well on the path Read more ...
Adam Sweeting
Directing and writing his first full-length feature, John Michael McDonagh fully exploits the wild and windswept landscapes of Connemara, and similarly extracts maximum value from his leading man, Brendan Gleeson. Perhaps he picked up tips from his brother Martin, who directed Gleeson in In Bruges. As Garda Sergeant Gerry Boyle, Gleeson finds himself on the trail of a trio of ruthless drug smugglers, about to land a colossal stash somewhere on the Irish west coast. This has attracted the attentions of FBI agent Wendell Everett (Don Cheadle).The narrative is partly driven by the culture shock Read more ...
Demetrios Matheou
There is an interesting tension at the Sarajevo Film Festival which, though this was my first time, I suspect exists as a matter of course. And this is a tension between the spirit of the people I meet here – ebullient, good-humoured and indefatigable (they really know how to party) – and the films themselves, which suggest a country and a region still reeling from the turmoil of its recent past. It’s a strange experience, then, poised between light and gloom.The origins of the festival embody this tension. It began in 1995, in the midst of the Siege of Sarajevo, one of the many cultural Read more ...
Adam Sweeting
I was once shown around Anglia TV’s studios by the bloke who used to say, "And now, from Norwich - the quiz of the week!” by way of introduction to the immortal Sale of the Century. A tremendous thrill, as you can imagine. It all came back to me while watching Regional TV: Life Through a Local Lens which, despite a title which seemed to be code for “please don’t watch me”, proved to be a sprightly little mover packed with absurd stories and amazing factoids about the days when regional TV, BBC and independent alike, was far more than just a bit of token local news stuck on the end of the Read more ...
james.woodall
It is resonantly famous, picking up plaudits from the off, with one Sight & Sound commentator claiming in 1962 that it was the "greatest film ever made", for which he'd been waiting "during the last 30 years". That now seems slightly hysterical, as it evidently isn't the greatest film ever made, and wasn't then. In it, nothing happens, many times, as opposed to Beckett's Godot - first seen eight years before - often vilified for tedium and in which at least, as critic Vivian Mercier pointed out, "nothing happens, twice". Beckett was a funny Irish poet-playwright. Robbe-Grillet (the Read more ...
hilary.whitney
David Leland (b 1947) has worked extensively both sides of the Atlantic but he is best known, both as a writer and a director, for his shrewd observations of ordinary people struggling against the constraints and hypocrisy of the accepted social mores of English life in films such as Mona Lisa (1986), Personal Services (1987) and Wish You Were Here (1987). However, it was Made in Britain (1982), a television play written by Leland for Channel 4 and directed by Alan Clarke, that first brought Leland widespread acclaim and the story of Trevor, a sociopathic skinhead, indisputedly destined for a Read more ...
james.woodall
It's the hard-hitting hoedown of high summer. Old Vic supremo Kevin Spacey being reunited with director Sam Mendes for the first time since 1999's American Beauty was bound to make 'em whoop, and their new production of Richard III doesn't disappoint. It's big, bellicose and full of braggadocio, as it should be: the play works best as a series of melodramatic blasts - Gloucester's opening soliloquy, his wooing of Lady Anne, Queen Margaret's curses, Gloucester's mock reluctance at becoming king, his nightmare and defeat as King Richard at Bosworth. In between, it's full of experimental and Read more ...
james.woodall
Asghar Farhadi’s new film unostentatiously suggests that Iran has many of the same things we have: cars, cash machines, schools, sex, divorce, Alzheimer’s. It doesn’t, we gather, have modern law. Before howls of protest erupt over so banal and Western-slanted a generalisation, I stress that this is the film’s contention: the madness of law the film proposes is not necessarily fact.Yet A Separation does seem to be realistic. The society depicted, allowing one man’s accusation of another of murder to be mediated by a harassed pen-pusher in a building resembling a job centre on a hopelessly Read more ...