Guillermo Del Toro: ‘I saw real corpses when I was growing up in Mexico’

In his new film Nightmare Alley, the Oscar-winning director abandons fantasy for gritty noir – but, as he knows from his childhood, humanity has its own share of monsters

Guillermo Del Toro used to describe Hollywood as “the Land of the Slow No”. Here was a place where a director could die waiting for a project to be greenlit. “The natural state of a movie is to be unmade,” he says over Zoom from his home in Los Angeles. “I have about 20 scripts that I lug around that no one wants to make and that’s fine: it’s the nature of the business. It’s a miracle when anything at all gets made.”

Nevertheless, Del Toro has established himself as this century’s leading fantasy film-maker, more inventive than latter-day Tim Burton and less bombastic than Peter Jackson (with whom he co-wrote the Hobbit trilogy). From the haunting adult fairytale Pan’s Labyrinth and the voluptuously garish Hellboy romps to his beauty-and-the-fish love story The Shape of Water, which won four Oscars, he is the master of the glutinous phantasmagoria.

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Cat Power: ‘To this day I sleep with my bedroom door locked’

After breakups, breakdowns, stalkers and worse, Chan Marshall has rewritten her bleakest lyrics and recorded an album of highly personal covers. ‘We all need sweetness,’ she says

Chan Marshall is sitting cross-legged on a bed, crying. It’s a sniffly, unselfconscious kind of crying, tears smudging sooty eyeshadow. Thirty years into her often wayward career as the US singer-songwriter Cat Power, she is crying because in a few weeks’ time she is 50 and she can’t believe she made it, that life turned out OK, that she’s happy. At least, happier than she was when she turned 30, the day her then boyfriend “stood me up”. Or her 40th, when she felt controlled in the relationship she was in.

“He was involved with this church,” she explains. “I wasn’t allowed to have friends. Or a party. So … hmm. I’m so sorry.” She shakes her head, reaches across the bed and clutches my hand. “It’s heavy, dude.” She takes a bolstering tug on a cigarette. “The 20s were so fucking difficult, like: ‘Oh, now I gotta do this some more?’” she carries on. “Turning 40 was: ‘Uuuurgh, well I made it this far, but it’s got to get better.’”

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The ultimate sex tape scandal: how Pam and Tommy’s stolen video shook the world

She was a cartoon beach beauty. He was a tattooed drummer. As the story of Pamela Anderson and Tommy Lee’s stolen sex tape is turned into tense TV, we remember the events that changed celebrity culture for ever

By Christmas 1995, it was moderately common knowledge that a “sex tape” existed of Pamela Anderson and Tommy Lee, privately filmed on their honeymoon that year, after a whirlwind 96-hour romance. As the star of Baywatch, Anderson was so globally famous that other, also famous TV shows had storylines about her. Lee, the Mötley Crüe drummer, was also extremely well known, mainly as a sex, drugs and rock’n’roll poster boy, partly for mooning whenever he went on stage.

Their union, and its impact, was a molecular chemistry kind of affair; like oxygen and hydrogen, each, alone, was a powerful element, but combined they were altogether more culturally powerful – her eroticism slightly neutralised by marriage, his trouble-seeking rendered a bit safer beside her all-American (actually Canadian) smile.

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The princess and the Caravaggio: bitter dispute rages over Roman villa

‘It’s like a museum,’ says princess caught in inheritance feud over one of the world’s most expensive homes

As legend goes, tossing a coin into the Trevi fountain guarantees a return visit to Rome. When, as a 16-year-old American tourist, Rita Carpenter participated in the ritual and made a wish to one day marry a Roman and live in the Italian capital, little did she know that almost five decades on she would return to marry a prince and home would be a 16th-century villa stuffed with history, including the only ceiling mural ever painted by Caravaggio.

But now Princess Rita Boncompagni Ludovisi is facing the prospect of having to move out of the sprawling Villa Aurora, and the vast treasures it contains are at risk of being closed off to the public.

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Lana Del Rey’s greatest songs – ranked!

As her breakthrough album Born to Die turns 10, we pick the best of an artist whose beautiful, damned aesthetic changed the course of pop

Apparently inspired by the suicide of a friend and remixed by Cedric Gervais into that rarest of things – a party-starting Lana Del Rey banger – Summertime Sadness was a hook-laden highlight of her second album Born to Die, later becoming a key text in the #prettywhenyoucry “sad girl” aesthetic Del Rey inadvertently spawned.

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Behind the scenes of Munich: The Edge of War – in pictures

Guardian photographer Sarah Lee describes her experience as a stills photographer on the set of the joint British-German Netflix production starring Jeremy Irons

Munich, based on the Robert Harris novel, is a German-British TV production that was filmed in Germany and subsequently in England in late 2020. I was invited to join the crew as an on-set stills photographer for the UK leg of shooting.

We started in Liverpool, which was doubling for 1930s London. The historic Liver Building, which stood in for Gotham city in the forthcoming Batman movie, made a very convincing Whitehall. The production later moved south to Amersham in Buckinghamshire where we shot in historic houses used as sets for Chequers and Downing Street.

Liverpool doubled for 1930s London – with the historic Liver Building making an impressive substitute for Whitehall

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‘I need to not be violent to myself’: Big Thief on pain, healing and their intense musical bond

The folk-rockers have weathered divorce and trauma to become one of the US’s best bands. Loved up with one another on tour, they explain their need for imperfection – and why recording is like sex

It is early afternoon in downtown Nashville, and the party is already going strong. Bachelorettes in pink cowboy hats are flowing, mask-free, in and out of the honky-tonks. The members of Big Thief, though – Adrianne Lenker, Buck Meek, Max Oleartchik and James Krivchenia – are sitting outside the Ryman Auditorium like dots of oil floating atop the water. No one seems to notice that one of the US’s best bands is scattered around a patio table a few hours before their show tonight, just yards above the 24/7 bacchanal.

“There’s a pigeon-keeper up there,” says the band’s frontperson Lenker, leaning forward in her chair in a horse-print shirt, jeans and a bandanna, her gaze fixed on a small skyscraper. She points, and the rest of the band follows her finger to a group of birds on top of a building, furiously in motion. “They’re flying in circles, so there has to be a cage up there. They only do that when there is someone conducting them.”

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Hollywood stars back Emma Watson after Palestinian solidarity post

Susan Sarandon and Mark Ruffalo among signatories to letter supporting Harry Potter actor accused of antisemitism

Major figures from the world of film, including Susan Sarandon, Mark Ruffalo, Peter Capaldi and Charles Dance have issued a statement in support of Emma Watson and Palestinian solidarity.

Last week, Watson, best known for playing Hermione Granger in the Harry Potter franchise, was accused of antisemitism after she posted an image on Instagram showing a photograph of a pro-Palestinian protest with the banner “solidarity is a verb” written across it. It was accompanied with a quote about the meaning of solidarity from the intersectional feminist scholar Sara Ahmed.

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’It took months for the glass to leave her body’: making Memory Box and surviving the Beirut blast

Lebanese film-makers Joana Hadjithomas and Khalil Joreige explain how their experiences of war shaped their new film – and how art freed them

On 4 August 2020, a catastrophic explosion ripped through Beirut’s main port and into the city. In total, 218 people were killed. At the time, around 6pm, the artist and film-maker Joana Hadjithomas was in a cafe with a friend, around the corner from the studio she shares with her husband. The first thing she heard was a strange sound. “My friend and I just looked at each other. Instinctively, we went underneath the table. I curled up and protected my face.” As a teenager, she had lived through Lebanon’s civil war; taking cover was second nature, a survival reflex. Then came the massive blast.

Afterwards, walking back to her apartment, she had no idea what was happening. An attack? An explosion? It was beyond comprehension. People were covered in blood; there was dust and rubble everywhere. “Wherever you looked, everything was destroyed. The scale was terrifying,” she says. In a state of shock, Hadjithomas had left her phone behind. When her husband, Khalil Joreige – frantic with worry – telephoned a couple of minutes later and a police officer answered, he feared the worst. Joreige tells the story with a shrug of helplessness, his face crumpling at the memory.

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Fire, cider and ‘heavy metal morris dancing’: the resurgence of wassailing

A centuries-old outdoor folklore ceremony featuring singing, dancing, costumes and crop-blessings, the wassail is having a pandemic-era revival – with witchy reinventions

On a January night in the tiny Herefordshire village of Eardisland, a crowd of hundreds is being led to an orchard down a muddy country lane. Their leaders wear tall hats, garlanded with fruit, feathers and flowers; their faces are a damp, mossy, green; their ankles jingle with bells. It is very dark: the only light comes from a crisp, crescent moon and the flaming torches that men, women and children hold in their hands.

The scene may sound sinister, but there is joy in the air at this crop-blessing wassail, a midwinter folklore ceremony, usually in apple-producing counties, involving singing, dancing and other folk customs. At Eardisland, the Leominster morris – they in the extravagant hats, plus flowery jackets made from old bedsheets and curtains – pour cider made from last year’s apples on to tree roots, hang toasted bread on tree branches to tempt the spirits, and light fires to represent renewal and the coming spring sun. The mood is jolly. “I’ll hopefully not set my leg on fire,” says the announcer, Josh Johnson, to laughter, before stamping flames out.

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Dolph Lundgren: ‘In showbusiness, you kind of live for ever’

Answering readers’ questions, the hardman actor discusses his bust-up with Jean-Claude Van Damme, his degree in chemical engineering – and ham sandwiches

If someone said: here’s loads of money, but we get the right to CGI you into movies for ever after you die, would you accept? LarboIreland

I’ve been in about 80 movies already. I guess part of being an actor is there’s some immortality. That’s why people are interested in showbusiness, because you kind of live for ever. So maybe I would. It depends how bad the movies are.

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Tented love: how Senegal created a spectacular new African architecture

After independence in 1960, the country cast off western influences and forged a new African style full of triangular forms, rocket-shaped obelisks and rammed earth. Is this spirit now being suffocated? Our writer takes a tour of the capital

Visiting the International Fair of Dakar is like taking a stroll through the ruins of some ancient Toblerone-worshipping civilisation. A cluster of triangular pavilions rises from a podium, each clad in a rich pattern of seashells and pebbles. These are reached by triangular steps that lead past triangular plant pots to momentous triangular entranceways. All around, great hangar-like sheds extend into the distance, ventilated by triangular windows and topped with serrated triangular roofs. All that’s missing is triangular honey from triangular bees.

Built on the outskirts of the Senegalese capital as a showcase for global trade in 1974, this astonishing city-sized hymn to the three-sided shape was designed by young French architects Jean Francois Lamoureux, Jean-Louis Marin and Fernand Bonamy. Their obsessive geometrical composition was an attempt to answer the call of Senegal’s first president, the poet Léopold Sédar Senghor, for a national style that he curiously termed “asymmetrical parallelism”.

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Joy and nakedness at San Francisco’s Dyke March: Phyllis Christopher’s best photograph

‘The march is like our Christmas – the biggest night of the year, where women celebrate half naked and anything goes’

In San Francisco, the night before the annual Pride parade is reserved for the Dyke March, a celebration of lesbian life throughout the city. It was like our Christmas – the biggest night of the year – and half of us would be so hungover we wouldn’t make it to Pride the next day.

I remember getting a call from an editor at On Our Backs, a lesbian magazine run by women that billed itself as offering “entertainment for the adventurous lesbian”. It was a bedrock of the lesbian community – one of the few ways to communicate with one another, and to celebrate sex and educate each other about it at a time when Aids had brought so much devastation to queer communities. The editor wanted me to shoot a kiss-in, but the tone of her voice sounded almost guilty – like she couldn’t quite bring herself to ask me to work on the biggest party night of the year. But to me, it was the most fun I could imagine.

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Dare I whisper it? I’m really enjoying And Just Like That

The Sex and the City sequel has taken a while to settle into its new skin. But, despite its many flaws, it is developing new charms of its own

And Just Like That did not have the smoothest of landings. The Sex and the City sequel found itself draped in controversy from the moment its return was announced. There would be no Samantha Jones, with the core group reduced to a trio, after Kim Cattrall did not return to the franchise. (Was she invited? Did she decline? I look forward to an inevitable Ryan Murphy dramatisation of events – Feud: Cosmos and Cupcakes.) The films had been middling, then terrible, then a third thankfully ditched before it got too far. Could a series that was built on being so brassy and brash survive in the tetchy 2020s?

Then it finally arrived, and the drama rolled on. The big twist, or the Big twist, at the end of episode one was briefly a moment, controversial largely for the fact that instead of weeping and hugging her still-conscious husband as he had a heart attack, Carrie might have considered calling an ambulance instead. To think that the reputation of Peloton was the main topic of conversation. Shortly after it aired, allegations of sexual assault were made against Chris Noth by multiple women. He issued a denial, but his co-stars published a message of support for his accusers, and a rumoured cameo at the end of the season was reportedly scrapped.

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‘I felt a sickening pain’: how the ‘first true Hitchcock movie’ almost killed its star

Alfred Hitchcock described his third film, The Lodger, as the true beginning of his directorial career but it would prove a near fatal screen debut for its leading light June Tripp

December 1925 was a busy month for June. A fixture of the West End stage since childhood, her surname, Tripp, had been excised by the impresario Charles B Cochran because it “sounds a bit comical for a dancer”. She spent the days rehearsing for a musical, Kid Boots, the evenings starring in another, Mercenary Mary, and then would “rush to the studio at midnight”, to act in a horse-racing short film opposite the fading American film star Carlyle Blackwell. The studio was at Poole Street, Islington, in north London, built five years earlier by Paramount but now rented out, most often to a British company, Gainsborough, run by Michael Balcon.

The short, Riding for a King, starred the celebrated jockey Steve Donoghue and had its premiere in January 1926, with June in attendance. Two days later, she collapsed during a performance of Mercenary Mary and shortly after underwent an appendectomy. Daily Express readers subsequently learned that she would “not be able to dance for six months”. By February, she was recuperating on the Riviera. It was there that she received a telegram from her old friend Ivor Novello, who offered film work. “No dancing required. You will act beautifully and we shall have fun.”

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‘Society was volatile. That spirit was in our music’: how Japan created its own jazz

Postwar Japan embraced the music of its former enemy – and, powered by anti-establishment feeling, remade it. As they find a new global audience, the country’s jazz innovators explain what drove them

The story of Japanese jazz is about music and a movement, but also a nation’s state of mind – a daring vision of a better future after the second world war, sounded out on piano, drums and brass. Jazz is a distinctly American art form – the US’s greatest cultural achievement, in fact, along with hip-hop – and a healthy scene had formed in the 1920s and 30s as American players toured the clubs of Tokyo, Kobe and Osaka. But Japan had historically been an insular nation – its policy of sakoku, which for more than two centuries severely limited contact with the outside world, had only ended in the 1850s – and an increasingly nationalist government, feeling jazz diluted Japanese culture, began to crack down. By the second world war, “the music of the enemy” was outlawed.

After the country’s surrender, occupying forces oversaw sweeping reforms. American troops brought jazz records with them; Japanese musicians picked up work entertaining the troops. There was a proliferation of jazz kissa (cafes), a distinctly Japanese phenomenon where locals could sit and listen to records for as long as they wanted. For some, jazz was the sound of modernity.

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A moment that changed me: I was crippled by negative thoughts – then I bought a silver bracelet

My self-esteem was at rock bottom, but on a break from my academic job I found myself in Paris. As I wandered through the city, an impulse buy gave me hope I could value myself again

A couple of years ago, after a bad academic year, I’d thought things would get better over the summer. They didn’t. I kept walking out of shops without buying what I’d gone in for, because it felt wrong to be taking up space and expecting attention. I couldn’t buy train tickets, even at the machine, because other people deserved to go first and, as soon as there was someone behind me, I gave up mid-transaction. I wasn’t eating much – food was for other people – but at the same time I was travelling and appearing at literary events and festivals, confident on stage as I’d been confident in the classroom all year. It seemed to me that my low estimation of myself off stage was correct and so I didn’t think to seek help any more than I’d seek help for believing that rain is wet.

One day in September (kids at school, students still on summer vacation, a time when work can be done from a train or hotel), I was in Paris, changing trains, really, but still with enough sense to know that a person arriving at night and leaving the next day might as well leave late the next day and give herself a day in Paris. I wasn’t sure it would work, knew myself perfectly capable of walking the streets hour after hour telling myself that any competent person would be enjoying museums and shops and cafes and what kind of privileged neurotic steals a day from her work and her family and then doesn’t even have the guts to buy a croissant, days off are wasted on me and I don’t deserve … I knew the city, a bit, from teenaged (mis)adventures, and I set off into the Marais, hungry from missed meals the day before and carrying a backpack too heavy with books. Sunlight through plane trees, the streets still quiet. Old stone, balconies, geraniums, city squares with those perfectly geometric arrangements of trees and municipal planting that we don’t do in England.

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All Creatures Great and Small gently conquers America

Tender-hearted show about travails of Yorkshire vet in 1930s seen by more than 10 million viewers in US

Rolling Stone magazine has called it “incredible balm”, and the New York Times extolled its “cheerful optimistic tone”. American viewers are enthralled by its bucolic setting, the small, everyday dramas and its old-fashioned sense of community. And, of course, the animals.

All Creatures Great and Small, the small-screen adaptation of a series of novels by James Herriot, the pen name of Yorkshire vet Alf Wight, has become a surprising hit in the home of fast-paced thrillers and warring dynasties.

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‘I’ve been expecting things to fall apart at any moment’: Dan Smith on 10 years of body dysmorphia, burnout and Bastille

He has found critical and commercial success, while behind the scenes the frontman has battled with his self-confidence and severe stage fright. He explains why he still loves being in the band

Dan Smith doesn’t know how to switch off. In the decade or so that he has been the creative heart, and frontman, of the band Bastille, he has thought about music constantly. There was a two-week period over Christmas and new year where he thought he had managed not to. Then he went to a double bill at the cinema.

“I got the whole way through the first film and three-quarters of the way through the second film before I had to leave, sing into my phone in the corridor awkwardly, and then come back in,” he says. “If I have a song idea that pops into my head, I have to get it down. It will eat away at me if I forget it, or it’s just on loop in my head.”

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President review – an intimate look at Zimbabwe’s collective cry for democracy freedom

Camilla Nielsson’s thrilling documentary takes a behind-the-scenes look at the 2018 election that followed the ousting of Robert Mugabe

“A free, fair and credible election.” These words of promise echo throughout Camilla Nielsson’s riveting documentary, capturing the fervour of the 2018 presidential vote in Zimbabwe, the country’s first without Robert Mugabe since its independence.

While opening with the rip-roaring rallies for Nelson Chamisa, who is running for the presidency against the incumbent Emmerson Mnangagwa, Mugabe’s former aide, President is more than an intimate portrait of a charismatic opposition leader. Considering the fraudulent electoral practices that existed under Mugabe’s 30-year reign, this election concretises a collective cry for democracy to triumph over decades of corruption and lies. Such a desire, alas, comes with blood, sweat and tears.

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