France
Joseph Walsh
Every year the Cannes Film Festival is a swirl of chaos, excitement, and controversy. Last year, the festival had a markedly different feel. Gone were the big starry names. Replacing them were less glitzy films that were given a chance to shine.There were delights like the monochrome wonder that was Cold War from Paweł Pawlikowski, and the magical-realist fable Happy as Lazarro from Alice Rohrwacher. Both directors are back again this year, sitting on the competition jury headed up by The Revenant director Alejandro González Iñárritu, alongside Elle Fanning, Yorgos Lanthimos, Enki Bilal, Read more ...
Joseph Walsh
“The world is perfect. Appreciate the details” says a WU-PS driver played by RZA, in Jim Jarmusch’s gleefully meta zombie-comedy that has just opened the Cannes Film Festival. It’s good advice. Jarmusch’s latest work is a finely tuned, deadpan comedy that pulls no punches in sending up the clichés of the horror genre.At the centre of the story are three bespectacled small-town cops, played by Bill Murray, Adam Driver and Chloë Sevigny. Their dull daily routine of managing minor local disputes is interrupted by news that the earth has shifted on its axis (due to polar fracking). A local wild Read more ...
Nick Hasted
This third version of Dirty Rotten Scoundrels’ yarn of rival, class-warring con artists on the French Riviera is just something for Anne Hathaway and Rebel Wilson to do till a better gig comes along. The concept goes no higher than teaming them up, the execution considerably lower.The plot slavishly follows Michael Caine and Steve Martin’s 1988 Scoundrels duel, as crude Aussie Penny (Wilson) elbows into the well-appointed hunting-ground of sophisticated, English Josephine (Hathaway, pictured below). Josephine nonsensically attempts to oust the interloper by inviting her in, and seeing who can Read more ...
Tom Birchenough
Robert Guediguian has spoken of the influence of Chekhov on The House by the Sea (Le Villa), and the shadow of the Russian dramatist, particularly The Cherry Orchard, can certainly be felt in the French director’s latest film, his 20th in a career that stretches back now some four decades. It’s there in ways that are thematic and structural equally, from its sense that a particular environment, a precious place that has defined the lives of the film’s protagonists in the past, is changing, to an unstudied story development defined by the loosely theatrical, almost “fly-on-the-wall” way in Read more ...
Katherine Waters
By fifteen Ummulbanu Asadullayeva — or Banine, to call her by the name under which she wrote and translated — had already lived more than most of us will in a lifetime. She’d experienced great love, married, been both a refugee and returnee, survived a pogrom, become a multimillionaire, been divested of that fortune by revolution, and read nearly the entire contents of her Aunt Rena’s library. By 1924, she was living in Paris, where she settled. Her life was extraordinary, but so were the times.Days in the Caucasus, the autobiography of her childhood, written in French and published in her Read more ...
Thomas H. Green
The French have developed an international reputation for a certain smooth style of electronic music. It’s the place where disco and house collide with something more urbane and far less sweaty. Daft Punk provided a defining moment with their 2013 album Random Access Memories, but the sound referred to is touched upon all the way from the louche downtempo of Air to more recent yacht rock sumptuousness from Papooz. And now L’Impératrice arrive to join the party.The toast of Parisian hipsters for a while, L’Impératrice (The Empress) now release their debut album and it’s sleek as an invitation Read more ...
David Nice
Goethe's cosmic Faust becomes Gounod's operatic fust in what, somewhat surprisingly, remains a repertoire staple. You go for the tunes, hoping for the world-class voices to do them justice and prepared for a pallid quarter-of-an-hour or two. David McVicar's 15-year-old production as revived by Bruno Ravella is beginning to date, Royal Opera trad with a few scandalous add-ons and wacky choreography by Michael Keegan-Dolan. Two things are startling this time round: the conducting of Dan Ettinger, which makes the score sound much more interesting than I remember, and a phenomenon, unique to Read more ...
Matt Wolf
It's all go – no, make that Van Gogh – when it comes to the Dutch post-Impressionist of late. Opening the same week as the Tate Britain's blockbuster exhibition about his years in London comes the artist-turned-filmmaker Julian Schnabel's biopic of the tragically short-lived artist, for which its star Willem Dafoe was an unexpected Oscar nominee last month for best actor. Ravishing to the eye as one might expect, and acted with a near-ferocious empathy by Dafoe (who, thank heavens, doesn't worry about an accent), the film as a whole is sure to divide opinion. Shot with a Read more ...
Demetrios Matheou
I met Agnès Varda, who died today aged 90, just once, for the interview that’s reproduced below. It was in Paris in January 2018, shortly before the Belgian-born filmmaker was to become the oldest Oscar nominee in history, for the wonderful documentary Faces, Places. The encounter felt like a lucky break – blessed exposure to an icon and one of the most grounded and delightful inspirations one could imagine.On paper, the event was of the sort that journalists loathe, a ‘round table’ that, due to Varda’s popularity, grew by the second until there were perhaps 30 interviewers surrounding the Read more ...
Adam Sweeting
Genius is as genius does, and Rudolf Nureyev made sure nobody was left in any doubt about the scale of either his talents or his ambitions. Based on Julie Kavanagh's biography Rudolf Nureyev: The Life, The White Crow pairs director and actor Ralph Fiennes with screenwriter David Hare to deliver an involving and often thrilling account of Nureyev’s rise to fame as a ballet dancer and his sensational defection to the West in 1961. It pulls off the tricky feat of being both successful drama and a plausible depiction of the rarefied world of ballet.In its recounting of Nureyev’s life from Read more ...
Jasper Rees
When I interviewed John Richardson, who has died at the age of 95, he was edging through his definitive four-tome life of the minuscule giant of Cubism. Of the various breaks he took from the business of research and writing, one yielded The Sorcerer’s Apprentice, a gossipy, elegant account of his own friendship with Picasso in the 1950s, when he lived in Provençal splendour with Douglas Cooper, then the owner of the finest collection of Cubist art in the world. Where the biography is a vast monument, the memoir is a more intimate, dashed-off sketch, in which Richardson hangs out with Picasso Read more ...
Katherine Waters
Bea and Dan are a young married couple. They have a mortgage on their small flat in Holloway and met while out clubbing in Peckham. She’s a plain-looking, modest and hard-working psychotherapist; he’s putting in the hours as an estate agent having put his artistic aspirations on ice. Typical millennials. They’re in love. Or rather, we’re told they’re in love. In fact, we’re told rather a lot of things - it seems to be the book’s mode. Dan is mixed-race, was brought up in Peckham by his mum and hasn’t been abroad all that much: “I’m a city boy, aren’t I? And I don’t speak French.” Bea, on the Read more ...