Category Archives: Culture

Wheel of Fortune and Fantasy review – a triptych of light-touch philosophy

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Ryusuke Hamaguchi brings a gentle warmth to this ingenious collection of three stories united by themes of fate and mystery

Ryusuke Hamaguchi is a Japanese film-maker whose work I first encountered in 2018 with his doppelgänger romance Asako I & II and indirectly via last year’s experimental chamber-piece Domains, whose screenwriter Tomoyuki Takahashi has worked with Hamaguchi. Now he has unveiled this ingenious, playful, sparklingly acted and thoroughly entertaining portmanteau collection of three movie tales.

Their themes and ideas are emerging as keynotes for this director: fate and coincidence, identity and role-play, and the mysteries of erotic pleasure and desire. There is a rather European flavour in the mix – one of its characters is a specialist in French literature – and I found myself thinking of Emmanuel Carrère and Milan Kundera. And although there is no formal connection between the stories (other than the thematic echoes) the simple act of juxtaposition creates something pleasingly cohesive.

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Manic Street Preachers’ 30 greatest songs – ranked!

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Marking 30 years of their debut album, Generation Terrorists, a look back at the Welsh rockers’ best bits: from the song about the Spanish civil war that kept Steps off No 1 to their glorious duets

Manic Street Preachers were always Guns N’ Roses fans: on A Billion Balconies Facing the Sun, they collaborated with the band’s bassist Duff McKagan. Charmingly perverse as ever, they turned in one of their poppiest latterday melodies, liberally decorated with metal guitar.

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‘If we are honest, it wasn’t particularly good’: looking back on the first Netflix original, 10 years later

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Why a little known streaming service put its faith in Lilyhammer, a decidedly average show about the Norwegian adventures of a mafia boss

When you think of Steven Van Zandt’s acting work, your mind will automatically flick to The Sopranos. A vast, swaggering monument of a show, The Sopranos quite rightly holds the reputation of playing a pivotal role in the history of television. But let us also not forget that – 10 years ago this week – Van Zandt followed The Sopranos with another show. And it was a show which was every bit as important a milestone in TV’s evolution. That’s right, let us all wish a happy anniversary to Lilyhammer.

You remember Lilyhammer. It was a Norwegian show about the messy misadventures of a mafia underboss living in the witness protection programme 100 miles north of Oslo. It ran for three seasons and Bruce Springsteen had a cameo in the final episode. If we are being completely honest, it wasn’t particularly good. But, when it debuted in 2012, it was the very first Netflix original series. And what better way to mark its 10th anniversary than rewatching it to see how Netflix has changed over the years? There isn’t any. So we did it. Here are our learnings.

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Bollywood’s new affair: the film bringing complexity to screen infidelity

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With an all-star cast led by Deepika Padukone, Gehraiyaan aims to bring a fresh realism to its love story. She and director Shakun Batra assess the risks they’re taking

“I think it’s pretty fresh for an Indian audience,” says Deepika Padukone of her new movie, Gehraiyaan (“Depths”). “The way this story has been told, and the way in which it explores infidelity is certainly very new.” Gehraiyaan’s promotional material isn’t hiding anything, with clips showing Padukone’s character Alisha losing herself in clinches with her illicit lover Zain (Siddhant Chaturvedi), her cousin’s fiance. If that wasn’t messy enough, Alisha also has a perfectly nice boyfriend of six years, Karan (Dhairya Karwa), who’s done nothing to deserve this betrayal.

“She feels stuck,” is how Padukone explains her behaviour. A 30-year-old yoga teacher in Mumbai, Alisha seems like an otherwise likable and pleasant human being, and the film dwells closely on how conflicted she is. “She feels like she’s been with this one person for so many years. And now, you know, she is at a stage in her life where she feels stuck.”

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Worthy winners aside, the Brits is struggling to keep pace with modern pop

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TikTok voting and gaming stars haven’t altered the music awards’ predictable roster of chart-toppers

• News: Adele sweeps gender-neutral Brit awards
• Liveblog: Brit awards 2022 – as it happened

The actual Brit awards ceremony has changed its complexion over the years: from the old-guard backslapping of the 80s to the boozy chaos of the 90s and early 00s. Today’s offering is slickly professional – hipper than it once was, less tone-deaf when it comes to representation, but not a hair out of place to the point of seeming faintly uneventful, unless you count the sight of Anne-Marie falling over, or the sound of Ed Sheeran gamely attempting to turn Bad Habits into a metal anthem with the aid of Bring Me the Horizon: even the person in charge of the mute button for swearing had an easy night. There was a lot of talk from host Mo Gilligan about hedonistic behaviour, but not many actual signs of it. Nor did anyone attempt to say anything controversy-stirring or political.

This year, the onus appeared to have shifted slightly again. In what was clearly an attempt to attract a younger audience – an audience that don’t watch music shows on television – there were categories voted for by fans via TikTok; elsewhere, there were “afterparties” starring tweenage favourite PinkPantheress on gaming platform Roblox and the unmissable opportunity to buy Brits-related NFTs.

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Jane Campion: the uncompromising New Zealander kicking down doors in Hollywood

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The film-maker is the first woman to be nominated twice for the best director Oscar – but thanks to her example, others will surely follow soon

The nomination of Jane Campion for best director at the 2022 Academy Awards – her second, following her 1994 nomination for The Piano – is more noteworthy for what it says about the institution than for its validation of the 67-year-old director, absent from feature film-making for more than a decade.

To date, only two women – Kathryn Bigelow and Chloé Zhao – have ever won best director. If that sounds unreasonable, consider this: in 93 years, just seven women have even been nominated for the award – Lina Wertmüller in 1977 (for Seven Beauties), Campion in 1994, Sofia Coppola in 2003 (for Lost in Translation), Bigelow in 2010 (for The Hurt Locker), Greta Gerwig in 2018 (for Lady Bird), Emerald Fennell in 2021 (for Promising Young Woman) and Zhao that same year, victorious with Nomadland. For the first half-century of the awards, double-X chromosomes and the ability to successfully oversee a motion picture were apparently believed to be irreconcilable. (Something to consider the next time the rightwing media complains about Hollywood’s liberal bias.)

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Oscar nominations 2022: The Power of the Dog leads the pack

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Jane Campion’s repressed western up for 12 prizes at 94th Academy Awards, with Dune scoring 10 nominations and Belfast and West Side Story both bagging seven

The Power of the Dog, Jane Campion’s Montana-set drama starring Benedict Cumberbatch as a threatening rancher, has swept the board at the Oscar nominations.

The film is up for a dozen prizes, including best picture, best director, best adapted screenplay, best actor for Cumberbatch, best supporting actress for Kirsten Dunst and best supporting actor for both Kodi Smit-McPhee and Jesse Plemons.

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‘The epitome of joy’: 10 of Lata Mangeshkar’s greatest songs

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The late Indian star sang of love in all its glorious and terrible forms – but also rooted listeners in history and spirituality

Sitting in the back of my parents’ Peugeot 504 as a child, we listened to songs by the likes of Mukesh, Mohammed Rafi and, of course, Lata Mangeshkar. We were too young to understand what they were about – love, loss, and romance – but we knew all the lyrics.

Well, not quite all of them. During her 92 years, Mangeshkar recorded 50,000 songs in 18 languages, breaking records as the most recorded artist in human history. As a playback singer for Bollywood films, she was never seen on screen, but her voice, dubbed in place of the actors’, was unmistakable. She got her start in 1942, and for a woman to have a career this long and distinguished in India, Mangeshkar must have been steely beneath those silk saris – her voice, though, remained gentle, and she was known as “the nightingale”.

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Ballad of a White Cow review – engrossing Iranian death penalty thriller

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In a suspenseful film that quietly builds tension, a widow battles her in-laws after her husband is executed and meets a new man

A woman outside a jail in Tehran asks to see her husband. Visiting hours have finished, the guard tells her. The woman pleads: “He’s about to be executed.” Inside, her husband looks up as she walks into his cell, silent, despairing. As the door slams shut, the camera is left staring at the closed door, listening to the woman’s agonised sobs. So begins this restrained Iranian drama about her fight for justice. It’s a film that quietly builds tension, almost suffocating by the end. Made in the austere Iranian tradition, the style is spare, no soundtrack, little to no camera movement – but with a real intimacy between the characters and screen.

Maryam Moghaddam (who also co-directs) plays Mina: one year after her husband Babak’s execution, she is blandly informed by an official that he has been exonerated – the real murderer has been identified and arrested. It’s all been a terrible mistake, everyone is sorry. But there is nothing to be done. “After all, it was God’s will.” As a widow living alone, Mina is powerless. Her late husband’s brother bullies her to move in with the family. Reading between the lines he would like to marry her and his father appears to want to get his hands on the blood money due to Mina as compensation. When she refuses, they threaten her with a custody battle over her daughter Bita (Avin Poor Raoufi), who is deaf.

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Kicking back at the regime: artists open another front in Myanmar war

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With the military increasing its use of informants, rappers and artists must keep their identities secret, even from one another

Early one morning last February, a group of young people gathered on a street corner in Myanmar armed with brushes and buckets of paint. In the faint light of dawn, they quickly completed their task and dispersed.

“I felt excited and nervous. I was scared too, because I didn’t want to get caught,” says Tu Tu, a pseudonym for the group’s organiser.

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Pere Ubu’s David Thomas: ‘I expect rock music to be smart’

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Rolling Stone said that rock’n’roll peaked with Pere Ubu’s debut album. Now, after two near-death experiences, the ‘avant garage’ band are back – with an adaptation of Chaucer’s Canterbury Tales

‘I’ve been dead twice,” grins Pere Ubu’s David Thomas, over Zoom from his flat in Hove. “Death is very overrated. It was like being asleep. Once I was brought back by the ambulance crew. My wife said ‘Those guys worked like demons on you.’ The other time I woke up in ICU with all this stuff attached to me and it turned out I’d died again. I woke up and the doctor said, “You’re David Thomas!’’ It turned out that he’d been at the same Pere Ubu show that Ian Rankin had seen in the 70s, and was a lifelong fan.”

Now 68, seated in front of his computer in a furry hoody, the drily-humoured Ohioan cuts a more subdued figure than the “enigmatic giant of a singer” Rankin has subsequently remembered shouting requests at during that gig at Edinburgh University in 1978. Thomas needs kidney dialysis three times a week, and when he gets up to answer the door he needs a walker. But while he may no longer bark out lyrics while careering about the stage, his spirit is indefatigable. “I’m not in the best of health, but my singing voice is better than it’s ever been,” he insists, cheerily. “I’m sort of glad that I can’t jump around any more because I don’t have to worry about falling into the drums. All my concentration goes into singing.”

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Unesco warns of crisis in creative sector with 10m jobs lost due to pandemic

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Artists finding it harder than ever to make a living despite being part of one of the fastest growing industries

Ten million jobs in creative industries worldwide were lost in 2020 as a result of the Covid pandemic, and the increasing digitisation of cultural output means it is harder than ever for artists to make a living, a Unesco report has said.

Covid has led to “an unprecedented crisis in the cultural sector”, said Audrey Azoulay, the director-general of Unesco, the UN’s cultural body, in a foreword to the report. “All over the world, museums, cinemas, theatres and concert halls – places of creation and sharing – have closed their doors …

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‘There’s a truth to it’: RSC casts disabled actor as Richard III

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Arthur Hughes says decision for 2022 production will allow lived experience to be ‘shown properly’

He is one of Shakespeare’s most reviled characters, distinguished by his “deformed, unfinish’d” figure. Now, for the first time, the Royal Shakespeare Company has cast a disabled actor in the title role of Richard III in a new production opening later this year.

For Arthur Hughes, it is a “dream come true” although his first reaction to being cast as the 15th-century king of England was disbelief. “It’s a part I’ve always wanted to play, it’s a very complex role, and it’s the biggest thing I’ve done,” said Hughes, 30.

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Lata Mangeshkar obituary

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One of India’s most famous playback singers hailed as ‘the nightingale of Bollywood’ who had a four-octave vocal range

Lata Mangeshkar, “the nightingale of Bollywood”, who has died aged 92 after contracting Covid-19, was a much-loved Indian national and international figure, whose songs provided the backdrop to the lives of millions for seven decades.

Music sung by her was heard constantly across India, in shops, restaurants, taxis or on the radio, and she became known as “Didi”, or sister, because so many people identified with her often emotional songs. And yet she was best known as a playback singer, a vocalist who does not appear onscreen but provides the soundtrack for films in which actors lip sync to her singing.

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Margaret Atwood joins writers calling for urgent action over missing Rwandan poet

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More than 100 authors from around the world have written to the Rwandan president about the case of Innocent Bahati, who disappeared a year ago today

Margaret Atwood, Ben Okri and JM Coetzee have joined more than 100 writers from around the world in calling on the Rwandan president to intervene in the case of the poet Innocent Bahati, who disappeared one year ago today.

According to human rights organisation PEN International, Bahati was last seen at a hotel in Nyanza district, in the Southern Province of Rwanda, on 7 February 2021. The poet, who is well-known in Rwanda and had published poetry on YouTube and Facebook, as well as regularly performing at live events, failed to return to Kigali, and his phones have been switched off since.

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Jonathan Van Ness: ‘Systemic racism, toxic masculinity and capitalist greed drives society’

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Jonathan Van Ness’s new Netflix show Getting Curious sees them investigate gender, skyscrapers and pooing bugs. But beneath the curiosity lies a deep-seated anger at inequality and discrimination

Jonathan Van Ness is best known for fabulous hairstyles, for killer styling tips, and for treading a path that keeps them firmly on life’s glam side. Their new TV show may change that. “Being pooped on by a millipede is a lot,” they exclaim. “It stained my hands for days – there’s tar or resin in their poop!”

The 34-year-old is talking via Zoom from their home in Texas about their new Netflix series, Getting Curious With Jonathan Van Ness. Based on their long-running podcast of the same name, each episode sees Van Ness – along with a coterie of experts and friends – tackle a topic, from skyscrapers to snack foods. As well, obviously, as assessing the kind of insects that go to the toilet on your hand if you pick them up in a laboratory. Or as Van Ness puts it: “Are bugs gorgeous or gross?”

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‘I was getting bored so hit the vodka’ – Shakespears Sister on how they made Stay

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‘It was inspired by a fabulously kitsch 3D movie called Cat-Women of the Moon. A character has to go back to her planet and leave her human love behind’

Stay came to life one morning in my converted garage in the back of my house in LA: a very unassuming studio, all knotty pine and carpet, my recording equipment in a cupboard. Siobhan Fahey lived down the road and her then-husband Dave Stewart [ex-Eurythmics] had given her a lift over, then he came in, because he had an idea.

Hormonally Yours is released in a 2-CD deluxe edition and coloured vinyl on 17 February, the 30th anniversary of its release.

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Death on the Nile review – Kenneth Branagh makes heavy weather of Christie caper

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Branagh’s spirited performance as Poirot and a big-name ensemble cast can’t keep this stale and two-dimensional whodunnit afloat

Long coronavirally delayed, Kenneth Branagh’s latest Agatha Christie movie puffs effortfully into harbour. It’s the classic whodunnit about a murder on a steamer making its way down the river in Egypt with an Anglo-American boatful of waxy-faced cameos aboard. The horrible homicide means that one of the passengers will have to spring into action, and this is of course the amply moustached Hercule Poirot, played by Branagh himself. It is Poirot who interviews suspects, supervises corpse-storage in the ship’s galley freezer cabinet and delivers the final unmasking – and all without the captain insisting that the Egyptian police should possibly get involved.

Screenwriter Michael Green has adapted the 1937 novel with some new inventions: some people of colour are introduced, and Christie’s intense dislike for her wealthy-hypocrite leftwing character has been dialled down. Most startlingly, Green invents a very good prelude showing the young Poirot’s service in the trenches of the first world war, and the origin of that moustache. Nothing in the rest of this rather stale and two-dimensional tale matches the brio of that opening.

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‘Adults are banning books, but they’re not asking our opinions’: meet the teens of the Banned Book Club

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Conservatives are pushing to ban books from school libraries. At a time of crisis, a group of Pennsylvania teenagers are fighting back

“Napoleon’s use of the sheep was notable,” says Jordan Daughtry, 14. She’s clutching a copy of Animal Farm, and referring to the authoritarian Berkshire boar who seizes control of an English acreage, before bending his fellow animals to his will.

The sheep, who represent the unwitting masses in George Orwell’s critique of Joseph Stalin’s totalitarian rule, are “ignorant buffoons”, Daughtry says.

Kiara Daughtry, left, and Lena Cackley.

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Original Fight Club ending restored in China after backlash

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‘Dystopian’ reversal of 1999 cult film’s ending showed police winning out

The Chinese streaming platform Tencent Video has restored the original ending to the film Fight Club after it amended the Chinese edition to tell viewers police had “rapidly figured out the whole plan and arrested all criminals”, prompting a widespread backlash.

The wholesale reversal of the anti-capitalist, anarchist denouement to the 1999 hit film, which stars Brad Pitt, Edward Norton and Helena Bonham Carter, made international headlines last month.

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