Oliver Stone derided for film about ‘modest’ former Kazakh president

Eight-hour series about Nursultan Nazarbayev criticised for stoking cult of personality of 30-year ruler

Oliver Stone has interviewed Kazakhstan’s former president Nursultan Nazarbayev for a new eight-hour film series which has been attacked as a hagiography that contributes to the leader’s cult of personality.

In the film, Qazaq: History of the Golden Man, Stone employs the same non-confrontational approach to interviewing autocrats that has made him a favourite of Vladimir Putin, Ukraine’s former president Viktor Yanukovych and others seeking to polish their reputations by sitting down with the Oscar-winning director of Platoon and JFK.

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Letter to my teacher: creatives ​​including Kate Mosse, Ben Bailey Smith and Sathnam Sanghera ​say thanks

A great teacher can change a child’s life. ​As this school year ends, we ask ​cultural figures including Charles Hazlewood and Kerry Hudson to remember a teacher who inspired them

So, it’s July. Finally. The UK is half-way through the summer of sport and, in schools up and down the country, teachers, classroom assistants, pupils, students and their parents are starting to believe the finishing line is in sight. No matter that there are still sports days to be negotiated, end of term assemblies and awards’ days, leavers’ proms or tea parties. For those whose children are staying on, the moment of learning if your child has got the form teacher that they (or you) wanted for next year, or if they’ll be in the same class as their best friends. From reception and infant school, primary to secondary, it’s a timetable that has altered little since the 1960s and 1970s when I was at school. Taking all the posters down from the walls, emptying lockers and desks, marks on the walls and dust. The slightly melancholy atmosphere of corridors suddenly empty, of another year over. I remember the texture of those last goodbyes, the making of a card for the teacher or a present. Nowadays, these leave-takings are commercialised – printed cards, special gifts, beautiful biscuits or baskets of flowers. Then, it was more homespun but, as the daughter of a teacher, the wife of a teacher, the daughter-in-law of a teacher I know how much those moments mean.

This year, more than any year, teachers deserve our thanks. It’s too soon to know the true cost of the pandemic on students’ and teachers’ mental health, but it’s clear that the lack of clarity, the incompetence and mismanagement of examinations, the bias and the appalling lack of knowledge shown by government about the majority of children and young people’s experiences of education, have had a profound effect on attainment, on confidence, on a generation’s love for learning. And all the time, from those first uncertain days in March 2020 to this imminent end of term in July 2021, teachers have been on the front line – trying to support pupils, to teach students, to decipher the mixed messages coming from politicians and local authorities, withstanding unwarranted and ill-informed attacks from sections of the media. Because, in the end, teachers have done their best to keep things going for the students in their care, in spite of the obstacles put in their way. They have been frontline staff without the protection, they have kept a watching brief for vulnerable children to make sure they didn’t slip through the cracks. A year and a half of never quite knowing where they stand, what the rules are, what they are allowed and are not allowed to do. Many months of educational leaders not being listened to or being criticised by those who know nothing about what it means to stand up in front of a class of 30 boisterous 12-year-olds and bring history to life, maths to life, music to life.

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Sheryl Crow: ‘Surviving breast cancer redefined who and how I am’

The singer, 59, talks about music, family, relationships – and reveals she’s shorter than we think

Music was my life as a kid. My earliest memory is singing as we drove through Missouri in our powder-blue station wagon. Having swing-band-player parents meant the house was filled with dancing. Music was my identity; I never thought about any other future.

I skipped school at 15 to enter a best-legs competition – and won. The contest was being run by a local radio station. I don’t remember who was judging – a bunch of dirty old men, I’m sure – but I proudly walked across that stage to victory. I may have been grounded and thrown in detention, but I kept hold of my $100 winnings.

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‘Where else can I make a month’s rent in two days?’: the unlikely stars of OnlyFans

Clarita needed to put herself through nursing school; Lex wanted to boost his income as a labourer – now they are erotic influencers on the subscriber site

In many ways, Lex Lederman, 28, is a classic American family man. He owns a farm in New Hampshire, where he lives with his wife and three children (plus a sizable company of chickens, pigs and geese). He’s teaching himself home renovation (plumbing, electrics, how to lay floors) and regularly helps out with homeless food charities, refugee relief, and the local high school football team. But this lifestyle has only become possible since he quit his construction job for a full-time career on OnlyFans – the content subscription service where he uploads erotic pictures and videos for his predominantly gay male fanbase.

One of the biggest tech success stories of the last few years, OnlyFans was founded by British entrepreneur Tim Stokely in September 2016. “You could see the explosion of influencer marketing, but the influencers were getting paid via ad campaigns and product endorsements,” he explained in an interview earlier this year. “Our thinking was always, OK, what if you could build a platform where it’s similar to existing on social media, but with the key difference being the payment button?” Stokely is now worth an estimated $120m (£86m).

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La Fracture review – gilets jaunes fable breaks under weight of its metaphors

A lovelorn woman lies in a Paris hospital as violent protests rage on the streets. It’s all very symbolic … but is it any good?

The fracture of the title is, ostensibly, the nasty broken arm suffered by ditsy lead character Raf (Valeria Bruni-Tedeschi), a comic-book artist in Paris who slips and falls over having had a traumatic and possibly metaphorical breakup with her partner Julie (Marina Foïs). But there is another metaphor level to come.

Related: Stillwater review – fictionalised Amanda Knox drama is so bad it’s bad

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China is far from alone in taking advantage of Australian universities’ self-inflicted wounds | David Brophy

Having long encouraged universities to find funding elsewhere, politicians now home in on their ties to China to argue that they’ve lost their way

Outside the political sphere, much of Australia’s China panic centres on university campuses. This is hardly surprising, given the deep connections of the Australian higher-­education sector to China.

In 2019, before the Covid-­19 pandemic hit, higher education brought in some A$12bn in export revenue, most of it from China. With more than 150,000 Chinese international students enrolled, some institutions relied on that single revenue stream to make up a quarter of their total budget before the current drop-­off. Mandarin is the second language of campus life in most universities these days; Confucius Institutes have been established at 13 universities; partnerships and MOUs with Chinese universities proliferate in many fields. Australian academics now collaborate more with colleagues in China than in any other foreign country: one report found that an incredible 16.2% of scientific papers by Australian researchers – almost one in six – were co-­authored with researchers in China, with papers in the fields of materials science, chemical engineering and energy topping the list.

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Raffaella Carrà, Italian cultural institution and LGBT icon, laid to rest in Rome

Thousands in streets to mourn television star, actor and singer as funeral is broadcast live on TV

In Italy’s week of mourning for Raffaella Carrà, one image summed up her universal appeal: a rainbow flag – the symbol of the LGBT movement – next to her coffin in a Catholic church.

Carrà, who died on Monday aged 78, was a cultural institution in her home country, regarded as its “best-loved woman”. The queen of light entertainment TV, she also acted and topped the music charts of Europe and South America with pioneering, sex-positive pop music.

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‘I know it’s weird’ – Jumbo: the film about a woman who falls in love with a funfair ride

Inspired by Erika Eiffel, who married the Eiffel Tower, this surreal debut tells the story of a woman who falls in love with a big, swirling fairground ride. Its director explains all

Just imagine the pitch. “I want to make my debut film about a girl who falls in love with a funfair ride. Um, that’s it.” But, however improbable it may seem, Zoé Wittock didn’t just get Jumbo bankrolled, the film was also screened at Sundance. And it’s every bit as strange, and quite a bit richer than you might expect.

Jumbo tells the story of Jeanne, played by Noémie Merlant, who lives with her sexed-up single mother near an amusement park, and also has a job there as an after-hours cleaner. One night, while spit-cleaning the knobs on a new fairground machine, Jeanne realises she has fallen in love with “him”. And so begins a giddy rites-of-passage story, with the intoxication of flashing lights and the sensuality of oil standing in for the dopamine rushes and tentative bodily exchanges of first love.

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I Think You Should Leave: the sketch show exposing our online egomania

Digging deep into the nonsensical and narcissistic – yet apparently acceptable –ways that we behave online, Tim Robinson’s Netflix series is ahead of the curve

In the first season of I Think You Should Leave, Tim Robinson’s superlative Netflix show, there’s a sketch that made me laugh more than any joke I have ever seen on social media. In it, a trio of brunching women decide to post an attractive picture of themselves on Instagram, accompanied by an obligatory and utterly transparent self-deprecating caption, “so it doesn’t look like you’re just bragging”. But one of the party can’t get to grips with this odd internet etiquette. “OK, got it,” she grins earnestly. “Slopping down some pig-shit with these fat fucks, and I’m the fattest of them all. If I died tomorrow no one would shed a tear. Load my frickin’ lard carcass into the mud, no coffin please, just wet, wet mud. Bae.”

You might think the vortex of narcissism, desperation and mindless rote behaviour that characterises many people’s Instagram use would be an obvious, not to say rather tired, subject for satire by now. In fact, TV comedy that mines laughs from the warped ways people behave online is vanishingly rare. But I Think You Should Leave – which returned for a much-lauded second season this week – does it in practically every sketch, drilling down into the absurdity of online interaction, and, in doing so, exposes the half-obscured egomania and self-interest that drives it.

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‘South Sudan is one long poem’: the music that shaped a nation – photo essay

As the country marks a decade since independence, musicians talk of the songs and rhythms that help create a shared culture and community for people displaced by civil war

“What comes first is a culture and then a nation,” says David Otim, a musician from Bahr el Ghazal, who performs and teaches South Sudanese songs. “Our [civil] war, which was caused by a foreigner, led us to not understand ourselves, made us go and destroy our culture out there [in refugee camps].”

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Sing when you’re winning – take our Euro 2020 football anthems quiz

Do you know your Ant from your Dec and your Three Lions from your Atomic Kitten? Find out with our tricky and slightly silly quiz

They are the soundtrack to our summers of joy and despair. The songs that accompany the moments when our hearts soar as goals go in, and break as crucial penalties are missed. But how much do you know about the football tournament anthems that fans sing with such glee? Find out with our football anthems quiz – getting full marks is going to be harder than getting a ticket for Wembley on Sunday. But remember, it is just for fun, and unlike the forthcoming Italy v England Euro 2020 final, there are no prizes.

The Guardian Euro 2020 football anthems quiz

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From Cuphead to Super Meat Boy: 10 of the most fiendishly difficult games

Roguelike shooters, punishing platformers and brutal, sword-heavy RPGs … not all great games have to be a walk in the park

If you want to try and enjoy beautiful 1930s-style animation while being so frustrated that you nearly throw your controller at the wall, Cuphead is your game. It’s a run-and-gun cartoon caper that looks non-threatening but is actually evil. I had nightmares about one of its bosses (the transforming wedding-cake castle), but when I beat it I felt like an actual god.
Consoles, Mac, PC

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Super-producers Jimmy Jam and Terry Lewis: ‘Prince sidelined us’

The duo started their debut album 36 years ago, but work for Janet Jackson, Mariah Carey and others got in the way. Now it’s finally complete, R&B’s great studio psychologists look back at an unmatched career

Some albums take a long time to make, but few have had the gestation period of Jam & Lewis: Volume One. The production duo started work on their debut artist album 36 years ago, just as their career was taking off on the back of the SOS Band’s hit single Just Be Good to Me, but they were thrown off-course working for a minor figure with a couple of flop albums to her name: Janet Jackson.

Together they started shaping what would become her 10m-selling 1986 breakthrough Control, which understandably “kind of stopped the progress on our own album”, as Jimmy “Jam” Harris, 62, puts it today, when he and his partner, Terry Lewis, 64, appear on a video call from their homes in Los Angeles. With Control ready to be delivered, they wrote a song for themselves that sounded the perfect calling-card for a Jam & Lewis album. “We thought we were done with Control, then Janet’s manager came to hear the album,” says Harris. “We played him Nasty, When I Think Of You, The Pleasure Principle … And he says: ‘I just need one more song, for Janet.’ I’m going: ‘No, man, no.’ We get in the car to go to a restaurant, Terry puts a cassette in, and about the third song in, Janet’s manager says: ‘That’s the song I need.’”

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What’s in the England team’s names? English Heritage explains all

St George’s flags featuring surnames of almost every person in England will fly from heritage sites to cheer on team

Harry Kane can trace his surname back to a word for “warrior”. Declan Rice to “impetuous”. Kieran Trippier to “dance”. Kyle Walker will have to make do with “trampler of cloth in a bath of lye” which, to be fair, was once a very important job.

English Heritage is getting in the football spirit by revealing the origins of the names of the England players. It will also fly a St George’s flag featuring the surname of almost every person living in England at its properties to help cheer on the team before Sunday’s Euro 2020 final against Italy.

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Vanessa Kirby and Katherine Waterston’s frontier romance: ‘She let me be more full-bodied’

The north-eastern US is not the only uncharted territory explored in the pair’s 19th-century period drama. They discuss becoming friends, learning how to act and sexism in showbiz

After the release this year of Ammonite, with Kate Winslet and Saoirse Ronan as 19th-century fossil hunters who fall in love in inclement weather, Saturday Night Live ran a trailer featuring Carey Mulligan in a spoof version. A sombre voice heralded “two straight actresses who dare not to wear makeup” along with “Academy award-winning glance choreography … the world’s saddest flirting … and best supporting actress nominee the wind.” After promising that the stars would “round all the bases, like grazing fingers, washing carrots”, the voiceover announced: “Lesbian Period Drama. You get one a year. Make the most of it.”

Not this year you don’t. The World to Come depicts a same-sex relationship flowering in the harsh conditions of the US frontier in 1846, where timid Abigail (Katherine Waterston) and brash, flame-haired Tallie (Vanessa Kirby) drift away from their husbands (Casey Affleck and Christopher Abbott) and into each other’s arms. The glancing is plentiful, the flirting desperately sad, the wind howling as if vocalising the women’s anguish. There is finger-grazing, but no carrot-washing, although the sweethearts do get to pluck a chicken together.

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Two decades of Indigenous photography: the work of Wayne Quilliam – in pictures

For more than 20 years, Aboriginal photographer Wayne Quilliam has captured significant Indigenous events across Australia, from the national apology to the Stolen Generations to the Garma, Barunga and Yeperenye festivals. In his travels through country, Quilliam often visits communities to teach Indigenous youth how to capture their own lives through a lens. His book, Culture is Life, is a modern, photographic celebration of the diversity of Indigenous Australians

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The Velvet Underground’s greatest songs – ranked!

As Todd Haynes unveils his documentary about them, we rate the best work of a band who overturned and reinvented rock’n’roll

The Velvets recorded two versions of Ride Into the Sun: a fabulous 1969 instrumental laden with fuzz guitar and a hushed 1970 vocal take backed by organ. Somewhere between the two lies one of their great lost songs; Lou Reed’s disappointingly flat 1972 solo version doesn’t do it justice at all.

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Rainn Wilson: ‘I had agents who were, like: You need to get your teeth fixed, build loads of muscles’

He may have an impressive film CV, but the actor is destined to be remembered as The Office’s resident dork. He talks about why he was perfect for the role, his new movie, Don’t Tell a Soul – and his love for Steve Coogan

Some actors associated with a signature role will tire of talking about it. No such preciousness from Rainn Wilson, who appears on camera from his Los Angeles home wearing a grey T-shirt emblazoned with the word “Scranton”. That Pennsylvania city provided the setting for the US version of the mockumentary sitcom The Office, which ran for nine widely adored, award-winning series. Wilson earned three Emmy nominations for playing the livid, disagreeable Dwight, the Rust Belt equivalent of Mackenzie Crook’s Gareth. Today’s beard and baseball cap, as well as his chipper demeanour, banishes all memory of the pasty face, DIY haircut and startled expression he wore in that show.

Wilson has starred in everything from Juno to Transformers: Revenge of the Fallen and the Jason Statham shark thriller The Meg, but he knows that any conversation will inevitably lead back to The Office. “Dwight is the part I’m best known for and always will be,” says the 55-year-old. “And that’s fine with me.” First, though, there is his new thriller to discuss. In Don’t Tell a Soul, a cross between A Simple Plan and Paranoid Park, he plays an unassuming security guard who gives chase after encountering two teenage brothers (Fionn Whitehead and Jack Dylan Grazer) stealing from a house in rural Kentucky. During the pursuit, he plunges into a hole in the forest floor, which leaves the boys with absolute power over him. The question is not whether they will use it, but how.

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DJ-producer Sherelle: ‘I feed off people’s unexplained anger’

Black artists pioneered dance music, but the scene remains white-dominated. UK rising star Sherelle is dodging the trolls and trying to make change with her platform Beautiful

Wearing a fleece jacket covered in black and white acid smilies, Sherelle is a walking embodiment of dance music when I meet her. The 27-year-old north Londoner and self-professed “bocat” – a Jamaican slang term used in a derogatory manner to describe someone who enjoys giving cunnilingus, now proudly reappropriated by her on her T-shirts – is one of the UK’s most purely enjoyable new DJs. By blending various global forms of dance music, she is a catalyst for unrestrained raving who has stormed her way into the limelight at 160 beats per minute.

She grew up on dancehall booming out of her mum’s hi-fi system, and hip-hop and R&B music videos on cable TV. “In my house we had cable illegally, because we couldn’t afford to pay for it,” says Sherelle, whose younger self would cringe at her mother and older sister. “Whatever they were watching, they would dance to. I have a graphic image of Beenie Man’s Who Am I, around the time the tune came out, and my mum and sister having the greatest time. I was mortified.”

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Between Two Worlds review – Juliette Binoche goes undercover in the gig economy

Emmanuel Carrère’s drama – based on Florence Aubenas’s bestseller Le Quai de Ouistreham – fails to probe fully the injustices faced by low-paid workers

Novelist and film-maker Emmanuel Carrère has contrived this earnestly intentioned but naive and supercilious drama about poverty and the gig economy, starring a tearful Juliette Binoche. It is adapted from the French non-fiction bestseller Le Quai de Ouistreham from 2010 by investigative journalist Florence Aubenas, published in the UK under the title The Night Cleaner.

In it, Aubenas describes her experiences “going undercover” and working in the brutal world of cleaning in Caen in northern France, where desperate applicants have to burnish their CVs with fatuous assurances about how passionate they are about cleaning, in return for dehumanising work with pitiful pay, grisly conditions and no job security. The grimmest part of the work is scrubbing lavatories and cleaning cabins on the ferry between Ouistreham and Portsmouth. The book is in the undercover tradition of George Orwell’s Down and Out in Paris and London, Barbara Ehrenreich’s Nickel and Dimed and Polly Toynbee’s Hard Work: Life in Low-Pay Britain.

Perhaps what might have been valuable would have been a documentary fronted by Aubenas herself, about what has and hasn’t been achieved for gig workers in France since her book came out – or, arguably, a Loachian fiction based on the real lives of these workers. What Carrère has done is create a drama in which it is the fictionalised Aubenas who is the centre of an imagined gallery of toughly courageous workers – her new best friends. The real dramatic crisis comes with Aubenas’s awful dilemma when she has to confess to them she has been fibbing all this time, and using their lives as raw material for her book, which she will write as soon as she returns to her wealthy and fashionable life in Paris. Some of her soon-to-be-jettisoned pals will forgive her when they see how important her book is. Some may not.

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