Ken Burns: ‘I felt that Hemingway’s uber-masculinity was a mask’

The acclaimed documentary-maker on his six-part portrait of Ernest Hemingway, his 40‑year career, and working during a golden age of storytelling

Ken Burns, 67, is a veteran and celebrated American film-maker who has made more than 30 documentaries in a career lasting more than 40 years. Among them is a much lauded history of the American civil war and an equally rapturously received history of the Vietnam war. His six-part documentary on Ernest Hemingway is currently on BBC Four and iPlayer and there is a forthcoming series on Muhammad Ali.

What attracted you to Ernest Hemingway as a subject?
We’d been thinking about doing Hemingway for an awfully long time – Geoffrey C Ward, Lynn Novick [writer and co-director, respectively] and me – for literally decades, since the 1980s. We needed all that time to sort of ruminate. We knew there was a lot of new scholarship that would help complicate the picture, that it isn’t just this toxic masculine guy with a bunch of wives and a literary legacy, but even more interesting dimensions that would permit us to explore things at a greater depth. There’s a tendency, particularly in our media world, for everything to be binary: good, bad, yes, no, up, down. And we found Hemingway tantalisingly complicated, which is what we like, because it is faithful to human beings.

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Titane may not have been the best film at Cannes, but it had guts, drive – and an anthro-automotive hybrid devil child

Julia Ducournau has became the second woman ever to win the Palme d’Or at Cannes. Her triumph is a suitably rock’n’roll ending for this year’s festival

Cannes let rip a punk power chord of glorious mischief by giving the Palme d’Or to Julie Ducournau’s gonzo genderqueer body-horror shocker Titane, and the jury and the movie’s many fans will have savoured the delicious applecart-upsetting thrill of it all. It’s the biggest épat since Lars Von Trier won it for Dancer in the Dark — and, importantly, it’s an award that makes Julie Ducournau only the second female Palme-winner in the festival’s history, since Jane Campion.

I must admit I was not a fan of Titane, being in my view not the best movie in competition, and not the best film that Ducournau has directed — being less interesting than her first film, the more complex and more shocking Raw. But I’m an enormous fan of challenging the consensus and overturning the tyranny of anaemic good taste, and perhaps there’s something in the perennial stateliness of cinéma that cries out to be trolled, a bit. Tonight Titane put its steel toe-capped boot through the origami flower of received wisdom. And there’s something refreshing in that.

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Cannes Palme d’Or goes to female director for only the second time

Julia Ducournau’s serial killer film Titane scoops top award, while best actor and actress go to Caleb Landry Jones and Renate Reinsve

The Palme d’Or, the most prestigious of cinema festival prizes, has gone to Titane, an unconventional and violent film directed by the 37-year-old French director Julia Ducournau.

Related: Cannes 2021: Titane didn’t deserve the Palme, but it had guts, drive – and an anthro-automotive hybrid devil child

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Mo Gilligan: ‘I did bake biscuits in lockdown, but it’s too much faff’

The comedian and Masked Singer panellist on his fascination with chicken, mum’s Caribbean specials and the secret to great mac and cheese

At home, my mum did the cooking. It was me, my two sisters and my mum. She mainly cooked Caribbean dishes: mutton and rice, curry chicken and rice, sometimes curry goat, rice and peas, but that would be for a wedding or something. You wouldn’t have curry goat all the time. It’s mad when I think about it, because when you’ve got kids and you’ve just come back from work, I can see how easy it is to put some chips in the oven. But my mum was always cooking from scratch. To this day, she still does it.

We couldn’t afford the supermarket. My mum would get a lot from the markets, predominantly East Street or Brixton Market. We’d eat a lot of fish: snapper, sometimes red bream. It’s only since I’ve gotten a bit older that I’ve had other fish, like sea bass for example. Yeah, we weren’t eating sea bass.

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Parklife: the year we fell in love with London’s green spaces

Sophia Spring’s photographs celebrate how London’s many parks became a lifeline for locals during the pandemic, writes novelist David Nicholls

We didn’t call it the park; it was the “rec”, as in “recreation ground”. A flat, featureless oblong of patchy grass, sodden in winter, parched in summer, scattered with ring-pulls and dog mess – this was the late 70s – its great featureless expanse broken only by buckled goalposts and a few skinny, unclimbable trees. I hated the rec, partly because of the threat of team sports, partly because of the possibility of violence – the two seemed to go together – but during those long, endless days of summer, when the glare of sunlight on the TV screen became too much, we were harried out of the house to “get some fresh air”. And so we loitered on that great barren prairie, an immense waiting room, wondering why anyone would go to the park out of choice.

Last summer, there were queues at the gates of Clissold Park and anyone wanting to exercise in Highbury Fields was advised to go early to avoid the rush hour. All over the city, the parks began to resemble the sites of the festivals that had all been cancelled and if Londoners had ever taken their green spaces for granted, there was no danger of that now. In the space of six months, they’d been repurposed as meeting rooms, nightclubs, concert halls, theatres and cinemas, cafes and restaurants, impromptu markets, family living rooms, gyms. London is supposedly a city of 3,000 parks and while I’m a little sceptical of that number, it’s true that the city had never seemed greener than that summer. On early morning bike rides I discovered Bushy and Ruskin and Trent, Peckham Rye and Beckenham Place and Ladywell Fields. I discovered the canals and waterways that link them too, the bloodstream of London, captured so brilliantly by Sophia in these photographs. Walk north on the Lea, west or east on the Grand Union, south on the Wandle or the Waterlink Way and you can see the ghosts of London’s old industries, cranes and disused warehouses and old pumping stations. Keep walking for the rest of the day, under the pylons and past the depots, and you can feel the city fading behind you, the skies opening up.

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‘Not in this town’: artwork about Britain’s ‘nuclear colonialism’ removed

Tory councillors are accused of censorship over installation on atom bomb tests in Australia in a Southend park

An Australian artist has accused a group of Conservative councillors of using “bullying strategies” to silence and censor her work after an installation she created to highlight Britain’s “identity as a colonial nuclear state” was removed from a park in Essex.

The councillors threatened to “take action against the work” if it was not removed, according to Metal, the arts organisation that commissioned and then removed the installation from Gunners Park in Southend.

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10 of Croatia’s best crowd-free places in for a

With Croatia set to go on to the green list, we pick quiet islands and beaches for a post-lockdown escape


Last summer, visitors who managed to make it to Croatia had a taste of what the country was like before the days of mass tourism. And it tasted good. But while honeypots such as Dubrovnik were unrecognisably quiet, there have always been parts of the country where you don’t have to wade through crowds.

Places where things move at a less hurried pace, where Croatian life can be savoured, where you get a flavour of what the Dalmatians call fjaka – the art of doing nothing. These islands and mainland destinations are what you want in a post-lockdown escape: peace, beauty and the chance to discover why Croatia is such an enticing country.

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‘A madman with millions of followers’: what the new Trump books tell us

Books show how close the US came to disaster, and document an unprecedented moment in US history that is not yet over

This week, the Guardian reported that what are assessed to be leaked Kremlin documents describe Donald Trump as an “impulsive, mentally unstable and unbalanced individual”. Vladimir Putin, the documents say, therefore decided to assist Trump’s rise to power in 2016 as a way to weaken America.

Related: Frankly, We Did Win This Election review: a devastating dispatch from Trumpworld

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Global art takes root in the Balearics – with a whiff of Somerset

Hauser & Wirth is known for its galleries in Zurich, Monaco, Hong Kong, New York, LA and Bruton.

For all the lizards, the loquats and the lantana, Menorca’s newest art gallery, which lies amid the blue waters and lolling yachts of Mahón harbour, carries the faintest whiff of a corner of Somerset.

Illa del Rei, a 40,000-sq-metre island a short boat ride from the Menorcan capital, Mahón, has a long and unique history. As well as being the site of a sixth-century Christian basilica and a staging post for Alfonso III’s conquest of Menorca 700 years later, the island is home to a decommissioned naval hospital founded by the Royal Navy in 1711 when Menorca was in British hands.

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Biz Markie, rapper known for Just a Friend, dies at age 57

Hip-hop star known for his personality, beatboxing and freestyle skills scored his biggest hit in 1989

Biz Markie, the New York rapper, beatboxer and producer, has died at age 57.

Markie’s representative, Jenni Izumi, said the rapper and DJ died peacefully Friday evening with his wife by his side. The cause of death has not been released.

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The lion in the London black cab: the remarkable story of Singh, and the boy who loved him

Gifted as a cub by a Maharajah to a young British boy, Singh lived at a house in Surrey before outgrowing his home and being driven in a black cab to the zoo. Now his story has been made into a book

“He was,” London Zoo said, “one of the zoo’s politest pets.”

Singh the Lion arrived in a black cab and padded in through the front door, on a lead.

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Casablanca Beats review – Morocco’s answer to Fame strikes a chord

A group of talented teens push the boundaries of their religious society by putting on a concert in Nabil Ayouch’s earnest film

Franco-Moroccan director Nabil Ayouch has made a likable, high-energy youth movie that could almost be called the Moroccan answer to Fame and which features that time-honoured plot device: putting on a concert.

Using nonprofessionals playing docu-fictionalised versions of themselves, Ayouch has created a drama revolving around an arts centre for young people that he himself helped to set up in the tough district of Sidi Moumen, called by someone here the Bronx of Casablanca. The school includes a special programme called the Positive School of Hip-Hop. A crowd of smart, talented teens join the class and we watch as they find out the challenges, limits and opportunities of learning self-expression through western-style rap in a Muslim society.

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From Zadie Smith to Donald Glover: the best storytellers in all of culture

Rappers, actors, authors – podcaster George the Poet picks his favourite spinners of yarns

It was Atlanta that made me realise how great Donald Glover is. It was no longer Donald solo as a singer, rapper or comedian. He now had an ensemble to carry the story and communicate his perspective in a way that was elevating. It set the tone for the way I approached the podcast.

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Gaz Coombes: ‘It felt good that life was speeding up’

As Supergrass return to festival stages, their frontman remembers his younger days, from the majesty of Spacemen 3 to love letters via mixtapes

This was a big thing for me: lots of recording off the radio. I’d wait for the chart show, and I’d know that Madonna’s Into the Groove was currently at No 3. I remember that pressured feeling of trying to hit record at the right time so you don’t get too much of the DJ introducing the track, and I’d build up these compilations. I did my own best-ofs – the Cure: 79-82 – or call them things like Dark Trip. I’d draw stuff and then go down to my dad’s office to use the photocopier and cut it all out, and print out homemade covers, getting the tracklisting really nice on the back.

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Dee Rees on her debut film Pariah: ‘My favourite scene is the dildo scene, honestly!’

The film-maker’s first movie, about a Black lesbian teenager, has made it to the Criterion Collection, a catalogue of canonical films. She discusses her characters and the pleasure of this success

When Dee Rees was first approached by highbrow home entertainment company Criterion, it was Mudbound, her 2017 film, it wanted to discuss. Inclusion in the Criterion Collection on DVD and Blu-ray, with some titles streamed, is widely seen as confirmation of a film’s classic status. Mudbound is Rees’s most-watched film to date – approximately “20m hours of viewing”, according to Netflix – and it was up for several big awards, including the Oscar for best adapted screenplay (making Rees the first Black women nominated in a that category) and best cinematography for Rachel Morrison (the first – and, to date, only – woman to be so honoured).

Rees, though, had a different suggestion. “I was excited, but I was like: ‘It’d be really great if Pariah were there,” she says, via video call from her Harlem home. Thankfully, Criterion’s curation team agreed. “It was my first film and it just was such an important film for me, y’know? And it felt, at that time in the world, culturally important … I guess there’s nothing like your first.”

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‘Gender is a performance’: Scotland’s first ‘drag school’ sells out

Dumfries course teaches 11- to 18-year-olds how to create a persona, apply makeup and the history of drag

“You can use drag to explore anything you want to,” says Natalie Doidge, the organiser of what is thought to be Scotland’s first “drag school” for teenagers, which opens its doors later this month after facing down controversy.

“Drag isn’t limited to men dressed as women … and this course opens it out to anyone who wants to try it. It’s an exploration of [oneself] – especially for young people at the upper end of high school, when your life is just beginning and you’re thinking about who want to be. Gender is a performance, after all.”

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Restoration work wipes smile off the face of Dutch vegetable seller

Painting reclaims former glory as English Heritage rights the wrongs of 19th-century additions

At some point in the last 400 years a painting restorer probably decided the Dutch vegetable seller was far too glum and should be smiling. Now it has been put right and she is once again enigmatic.

English Heritage revealed the results on Friday of a two-year conservation project to reveal the true glory of a mysterious, unsigned painting that has been in its stores for more than 60 years.

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‘We have a hostility to being boring’: Sparks, still flying in their 70s

Their Adam Driver musical sent Cannes into raptures and Edgar Wright has made an all-star documentary about them. The Mael brothers explain why they’ll always be hopelessly in love with pop

In 1974, John Lennon was startled as he was watching Top of the Pops. He rang Ringo Starr. “You won’t believe what’s on television,” he reportedly said. “Marc Bolan is playing a song with Adolf Hitler.”

This was Sparks, performing their glorious pop opus This Town Ain’t Big Enough for Both of Us. “It was equidistant between the Beatles on Ed Sullivan and the Daleks on Doctor Who,” says Edgar Wright, the director of Baby Driver and Shaun of the Dead, and now a documentary about the duo, The Sparks Brothers. “Fifteen million people saw it. Think of the next generation of bands watching: the Sex Pistols, Siouxsie and the Banshees, Duran Duran, Joy Division, Squeeze, Vince Clarke. They’re all watching and they’re all thinking the same thing.”

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Stevie, Gladys, Nina … Summer of Soul uncovers a festival greater than Woodstock

As the US boiled with violence, 1969’s Harlem cultural festival nourished spirits with soul, jazz and gospel. Now, Questlove has turned lost footage of it into a brilliant, pertinent documentary

It’s 29 June 1969, and at Harlem’s Mount Morris park (now Marcus Garvey park), the 5th Dimension are about to take the stage. The Los Angeles group are already stars, thanks to hits including Up, Up and Away and Aquarius, from the musical Hair, which topped the Billboard charts that spring. But their pop-oriented repertoire, often penned by white songwriters, has kept them off the US’s R&B radio stations and thus from Black audiences. “We’d tried to separate ourselves from the segregation in our society, but we still got caught up in all that,” remembers the group’s founding singer, Billy Davis Jr, today. “And the average Black family didn’t earn enough to come see us at the nightclubs we were playing. They’d seen us on TV, but they’d never seen us live.”

That was about to change with their headline performance on the opening day of the Harlem cultural festival. A series of six Sunday concerts that summer, the festival showcased the cream of the era’s soul, gospel, blues and jazz artists before an audience of 300,000, many from the surrounding neighbourhoods. “I looked out and saw a sea of faces, and their response was so loving, so welcoming and exciting,” says Davis Jr’s wife and bandmate, Marilyn McCoo, for whom the festival remains a treasured memory. She’s not alone. Harlemite Musa Jackson, then just a five-year-old, still remembers how the 5th Dimension’s orange costumes, gleaming in the sun, made them look “like Creamsicles”.

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