How The Lost Daughter confronts one of our most enduring cultural taboos

Maggie Gyllenhaal’s directorial debut, adapted from the short novel by Elena Ferrante, unravels the myth that motherhood comes naturally to women

It is clear from the opening minutes of The Lost Daughter, Maggie Gyllenhaal’s melancholic, bristly directorial debut on Netflix, that a dark secret stalks the sunny Mediterranean vacation of Leda Caruso, (a luminous Olivia Colman), a 48-year-old English professor of comparative literature. Her “working holiday” at a Greek island is immediately beset by increasingly ominous intrusions: a spectral foghorn, a bowl of rotting fruit, a shrill cicada, a boisterous Italian American family from Queens who disrupt her beachside reading. Memories pull at her focus; when the young daughter of Nina (Dakota Johnson), a beautiful, languid member of the Queens bunch who immediately catches Leda’s attention, goes briefly missing, Nina’s panic elides with a flashback to twentysomething Leda’s (Jessie Buckley) frantic search for her daughter Bianca at a beach.

It’s a familiar language of buried secrets, sinister subtext and unspooling memories – the building blocks of suspense – but the landmines in The Lost Daughter aren’t the usual culprits of dark revelation: unspeakable trauma or abuse, evil spirits, suppressed desires, the ravages of capitalism or greed. Instead, the molten core of The Lost Daughter is one of our culture’s most enduring and least touchable taboos: the selfish, uncaring, “unnatural” mother – one who doesn’t shift easily to care-taking, who does not relish her role, who not only begrudges but resents her children.

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‘Thematically richer than the Bible’: what I learned at the first annual Boss Baby symposium

Academics gather online to explore the philosophical underpinnings of a movie about a baby who is also a boss

In the middle of a question and answer session at an academic symposium, an audience member wearing a Boss Baby shirt showed off the Boss Baby lunchbox he takes to work every day.

“Obviously I eat cookies for lunch,” he explained, “because that’s what Boss Baby fans do.”

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Emma Watson pro-Palestinian post sparks antisemitism row

Israeli officials attack actor’s message, and are accused of ‘cynical weaponisation’ of term

Emma Watson has been accused of antisemitism by Israel’s former ambassador to the United Nations after she posted a message of support for the Palestinian cause.

Watson, best known for playing Hermione Granger in the Harry Potter films, 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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Unhappy new year: what can we learn from movies set in 2022?

From murderous mayhem in The Purge to the grim dystopia of Soylent Green, writers have predicted very bad things for the next 12 months

It’s gotten rather tricky to calibrate the the annual relative quotient of tragedy. (For the future reference of misery-focused sociologists, that’s the ARQT.) 2021 was a year of tribulation closing out with a backslide into the same rampant viral spread that we saw in square one of the pandemic that just won’t end – but hey, at least it’s not 2020 any more. As it becomes apparent that we will have to accept a few massive catastrophes as the new status quo, assessing the quality of life turns into a matter of degrees, weighing each fresh stretch of hardship against the last. It may prove some cold comfort to note that things have, by sheer numbers, gotten slightly better since last year. The corollary to this way of thinking, however, is the understanding that our circumstances can always get worse.

Just take a look at the films set in the year 2022, united as they are in agreement that something horrible is just waiting to happen. There’s a futuristic sheen to the number, as if a robot’s stuttering while giving a readout of two, that’s compelled a handful of film-makers to select this date as the point at which a major crisis comes to pass. Whether it’s a chance armageddon landing at an inopportune time or a boiling-over that our species has been building to for years, the movies have marked 2022 as cursed. The only hope as we approach the beginning of another year is that whatever challenges await us, they won’t have the terrible finality of the world-enders listed below. Read on for a smorgasbord of possible apocalypses imagined for the coming months, and take some solace in the small consolation that we have yet to start eating each other:

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Charlie Sheen on making Platoon: ‘We screamed for the medic!’

‘Forest Whitaker macheted his thumb, Tom Berenger knifed his foot, Willem Dafoe got medivacked – and Oliver Stone jumped up and down with joy’

Charlie Sheen, played Chris Taylor

My brother Emilio Estevez and I were huge fans of Scarface and Midnight Express, which were both written by Oliver Stone. Emilio kept talking to me about Oliver’s new Vietnam film, which he was auditioning for. He got the lead part, Chris Taylor, but then couldn’t do it because of scheduling conflicts. When I auditioned, Oliver said I was “too mannered” and needed to do more work. So I did The Boys Next Door and Lucas – and I got the part, but only if Willem Dafoe approved. I didn’t meet Willem until we got to the Philippines. He ran past me in our hotel and gave me a hug. Later, Oliver came up to me and said: “Willem digs ya.”

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What’s new, pussycat? How feline film stars are trained to perform

From Stuart Little and Pet Sematary to new movie The Electrical Life of Louis Wain, cats can be scene-stealers. But how do you get such fickle and independent creatures to behave on camera?

Cats have been effortlessly stealing scenes from their human co-stars for decades. Who could forget Audrey Hepburn’s adorable marmalade tabby in Breakfast at Tiffany’s? Or Jinx, the toilet-flushing Himalayan in Meet the Parents? Behind every famous film cat, there is a dedicated trainer patiently teaching them to obey a command, making sure they’re happy on set, and grooming them fastidiously to maintain their fluffy good looks.

The film-makers behind The Electrical Life of Louis Wain, a British period biopic about the Edwardian artist and illustrator who became famous for his surreal portraits of cats, were adamant they didn’t want to use CGI for the shoot, so animal trainer Charlotte Wilde was brought in with 40 feisty felines. “It was organised chaos,” she says. “They had their own green room and were treated like royalty.”

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Apocalypse nowadays: the new wave of films about the end of the world

Armageddon once delivered thrills and megabucks spectacle. Now it’s the unnerving backdrop for satires and family drama

Which films kept you entertained over the holidays? Was it Silent Night, the sweary festive Britcom starring Keira Knightley? The courtroom drama Naked Singularity, with John Boyega as a crusading lawyer? Or did you watch Leonardo DiCaprio as a dorky astronomer in Don’t Look Up, a slapstick political satire? Whichever it was, I hope you poured yourself a large one, because none of those films are quite as light as they seem. All take place in the shadow of imminent Armageddon.

That’s right: the end of the world is nigh, and it’s no longer the preserve of megabudget disaster movies or bleak survivalist thrillers. These days the looming obliteration of our species can just as readily form the backdrop to some governmental mockery or a boozy country-house drama.

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Amy Schumer: ‘If you can just keep your family speaking to each other, that’s a win. Sometimes it’s not doable’

Along with her female co-stars, Schumer speaks about how making The Humans – and having a baby – helped her reassess her life. And, perhaps, a previous review written by her interviewer …

‘Talking about The Humans always becomes like a therapy session,” Beanie Feldstein says, a few minutes into a group chat about the oppressive and unsettling adaptation of Stephen Karam’s Pulitzer-nominated play about a family gathering at Thanksgiving. Karam’s haunting and quite brilliant directorial debut reimagines a quirky dysfunctional-family drama as an eerie, anxious horror movie set in the New York equivalent of a haunted house: a crumbling downtown apartment. It’s a place that forces his characters to confront the brutal realities of who they are, who they’re not and who they’re stuck with. It also forces us to do the same.

Amy Schumer and Feldstein play sisters, and Jayne Houdyshell, who won a Tony for playing the role on stage, their mother. Richard Jenkins, Steven Yeun and June Squibb round out the cast. “It evokes so much emotion,” Schumer says of the film. “And it made me feel better about my own family, our trauma and struggles. If you can just keep your family speaking to each other, that’s a win. And sometimes it’s not doable.” Feldstein refers to it as a drama that “gets in your guts”, while Houdyshell agrees that “it makes you feel raw”.

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‘It parodies our inaction’: Don’t Look Up, an allegory of the climate crisis, lauded by activists

Adam McKay’s end-of-the-world film is a ‘powerful’ depiction of society’s response to scientific warnings, campaigners say

Don’t Look Up, the latest celluloid offering from the writer-director Adam McKay, has become Netflix’s top film globally despite dividing critics and viewers.

The film, a satire in which two scientists played by Leonardo DiCaprio and Jennifer Lawrence attempt to warn an indifferent world about a comet that threatens to destroy the planet, is an intentional allegory of the climate crisis.

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Books and films censored under Franco still circulating in Spain

Dictator who died in 1975 stamped out mention of Spanish civil war, sexuality and anti-Catholic views

A Spanish association has called for an investigation into the enduring legacy of censorship during the Franco regime after it emerged that censored versions of books and films are still circulating more than four decades after the dictator died.

Emilio Silva, the president of Spain’s Association for the Recovery of Historical Memory, sounded the alarm earlier this week after he stumbled upon a different version of the 1946 film It’s a Wonderful Life on television.

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Paul Bettany: having Johnny Depp texts read aloud in libel trial was ‘an unpleasant feeling’

The British actor, whose messages to Depp regarding the latter’s wife Amber Heard were publicised during a trial in 2020, has commented on the process

The actor Paul Bettany has spoken for the first time about having the text messages exchanged between himself and Johnny Depp concerning Amber Heard read out at Depp’s libel trial.

Bettany, who is currently promoting A Very British Scandal, told the Independent it was “a really difficult subject to talk about” and said he was concerned doing so would “just pour fuel on the fire”.

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Jean-Marc Vallée, director of Dallas Buyers Club, Wild and Big Little Lies, dies aged 58

The Canadian film-maker died suddenly at the weekend according to his representative

Jean-Marc Vallée, the Canadian director best known for his work on Matthew McConaughey drama Dallas Buyers Club, has died aged 58.

Vallée’s representative, Bumble Ward, said he died suddenly over the weekend in his cabin outside Quebec City. His two sons survive him.

Jean-Marc stood for creativity, authenticity and trying things differently. He was a true artist and a generous, loving guy. Everyone who worked with him couldn’t help but see the talent and vision he possessed. He was a friend, creative partner and an older brother to me. The maestro will sorely be missed but it comforts knowing his beautiful style and impactful work he shared with the world will live on.

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Look away: why star-studded comet satire Don’t Look Up is a disaster | Charles Bramesco

Adam McKay’s celeb-packed Netflix comedy aims to be a farcical warning of climate change but broad potshots and a smug superiority tanks his message

When persuading someone to change their mind on a major topic, what’s being said isn’t always quite as important as how it’s said. If a person feels attacked or disrespected or condescended to, they’ll turn off their brain and block out the most rational, correct arguments on principle alone. Homo sapiens are odd, emotional creatures, more amenable to a convincing pitch than poorly presented rightness. It’s why we vote for the guy we’d gladly have as a drinking buddy over the somewhat alienating candidates with a firmer grasp on the issues. It’s why we feel heartbreak when the worst person we know makes a great point.

Adam McKay’s new satire Don’t Look Up, a last-ditch effort to get the citizens of Earth to give a damn about the imminent end of days spurred by the climate crisis, appears to be at least somewhat aware of this defect in human nature. It’s all about the difficulty of compelling the disinterested to care, in this instance about a gargantuan comet hurtling toward the Earth on a collision course of imminent obliteration, an emphatic if rather ill-suited, metaphor. (Everyone’s blasé about global heating in part because it’s so gradual, because it isn’t a force of instant destruction with a due date in an immediate future we’ll all live to see.) Leonardo DiCaprio and Jennifer Lawrence portray astronomers Randall Mindy and Kate Dibiasky, flummoxed to find that no one’s all that alarmed about the “planet-killer” they’ve discovered – not the grinning daytime cable-news dummies played by Tyler Perry and Cate Blanchett, not the White House led by Trump-styled president Meryl Streep and not the American people.

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‘I’m not just coasting along’: Nicole Kidman on fame, family and what keeps her awake at night

Nicole Kidman is one of Hollywood’s most brilliant stars, but her everyday concerns are familiar to all of us. She talks candidly about sleepless nights, melancholy moments and why she still has so much to get done

Nicole Kidman sleeps badly. Recently she got up at 3am to Google that thing, with the leg, where, “It feels like it needs to move?” But more often she will lie there in the dark beside her husband, in her Nashville bed, their two daughters sleeping some rooms away, and make decisions. She will “contemplate”. Between midnight and seven, she says, coolly, is the most “confronting time”.

It says a lot about Kidman, her prolific career, her sustained presence on film and glossy TV, that we can immediately picture her there, hair coiled on a pillow, eyes wide, the restless sense she has become claustrophobic in her own body. Kidman, 54, has been acting since she was 14, already 5ft 9in then, with skin that burned easily. She started in theatre partly as a way to get out of the Australian sun – a year later she was known locally (she told an early interviewer) for playing “older, sexually frustrated women”. Over the next 40 years she extended that repertoire, so now she is known for playing cryptic, adventurous, troubled women, too, in brave work that might not have been made were it not for her glittering star-power.

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The Matrix Resurrections review – Keanu Reeves and Carrie-Anne Moss spark in utopian reboot

A sunny new world beckons for Neo and Trinity in this self-aware but smart fourth instalment of the sci-fi classic

Thomas Anderson (Keanu Reeves) is the designer of The Matrix, a popular video game set in a virtual reality. His bosses have ordered a sequel; at an ideas meeting, his colleagues throw around a few ideas. PVC. Guns. Trans allegory. There is much winking and nudging in Lana Wachowski’s follow-up to the groundbreaking sci-fi films she co-created with her sister Lilly. Wachowski understands that in the 20 years since, their legacy has been boiled down to a catalogue of memes with lucrative franchise potential. Yet her newest chapter manages to be self-aware (at times overly so) without being entirely cynical.

Those foggy on the details of the trilogy’s plot will benefit from the exposition-heavy first act. Plagued by memories of his past, Anderson – also known as Neo – must once again choose whether to take the red pill offered by hacker Bugs (Jessica Henwick, whip-smart), and wake up, or continue to swallow his current reality. Carrie-Anne Moss’s Tiffany, a motorcycle mechanic and mother of two whom Neo remembers as Trinity, has a choice to make too. The romance between them has always been the molten core of the Matrix films; their power as a duo is what drives the story forward.

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Bambi: cute, lovable, vulnerable … or a dark parable of antisemitic terror?

A new translation of Felix Salten’s 1923 novel reasserts its original message that warns of Jewish persecution

It’s a saccharine sweet story about a young deer who finds love and friendship in a forest. But the original tale of Bambi, adapted by Disney in 1942, has much darker beginnings as an existential novel about persecution and antisemitism in 1920s Austria.

Now, a new translation seeks to reassert the rightful place of Felix Salten’s 1923 masterpiece in adult literature and shine a light on how Salten was trying to warn the world that Jews would be terrorised, dehumanised and murdered in the years to come. Far from being a children’s story, Bambi was actually a parable about the inhumane treatment and dangerous precariousness of Jews and other minorities in what was then an increasingly fascist world, the new translation will show.

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The world on screen: the best movies from Africa, Asia and Latin America

From a Somali love story to a deep dive into Congolese rumba, Guardian writers pick their favourite recent world cinema releases

The Great Indian Kitchen

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Neo rhythms: why techno music and The Matrix are in perfect harmony

The films’ heroes look like they’ve just stepped off the Berghain dancefloor – and the connection isn’t merely aesthetic. The series shares the genre’s philosophy of liberation

“We can’t see it,” says a character in The Matrix Resurrections, “but we’re all trapped inside these strange repeating loops.” Small surprise techno producer Marcel Dettmann was commissioned to write music for this latest film in the franchise. It’s a natural fit. Its director, Lana Wachowski, goes clubbing at Berghain, the Berlin techno club where Dettmann is resident and where, cut off from the everyday world, people have surreal, liberating experiences. Techno continues to inspire the franchise’s aesthetics.

When club techno arose in 1980s Detroit, African American producers were reimagining the deindustrialised city as a site of futurist fantasies. Cybotron’s dystopian 1984 track Techno City was inspired by Fritz Lang’s Metropolis and the Tokyo of Yellow Magic Orchestra’s track Technopolis. “I extrapolated the necessity of interfacing the spirituality of human beings into the cybernetic matrix,” said Cybotron’s Rik Davis (using the word “matrix” before the film existed), “between the brain, the soul and the mechanisms of cyberspace.”

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Dirty Harry at 50: Clint Eastwood’s seminal, troubling 70s antihero

The off-the-leash cop archetype was cemented with Don Siegel’s taut, provocative thriller that neither condemns or condones extreme measures

Harry Callahan is the cop we’ve been warned about. Though this week marks fifty years since Don Siegel’s genre-defining thriller Dirty Harry busted into cinemas with Smith & Wessons blazing, the general profile of dangerous, off-the-leash law enforcement solidified over the last half-decade of public discourse sounds like it could’ve been traced from the film’s example. Played with a scowl of blanket disgust by Clint Eastwood – Paul Newman had passed on the role as “too right-wing” – San Francisco PD’s top inspector is more than your standard-issue misanthrope. He’s an equal-opportunity bigot, contemptuous of every ethnic group rattled off by a fellow officer in a laundry list of slurs. He’ll readily resort to violence in his work, not above a bit of crude torture to extract information from a perp with a bullet wound. And most hazardous of all, he believes himself unanswerable to anyone but God, who he’d probably just meet with the same glowering frown.

From its earliest stages of development, the script conceived by husband-and-wife team Harry and Rita Fink made clear that Harry’s no boy Scout, but partisans on either side of the ideological aisle looking for affirmation in their stance will be disappointed. Those with hopes for an out-and-out denunciation of this brutish approach to policing have another thing coming, the coarser methods often validated by necessity, as if Harry’s the last line of defense for a society teetering on the brink of anarchy. (The guy can’t even get a hot dog without a bank robbery demanding his attention.) Any gung-ho types walking away as converted Calla-fans have also missed something crucial, however, blind to his placelessness in the city he’s sworn to protect. Neither condemning nor condoning his actions, the film offers what may be the clearest image of the archetypal cop’s self-perception as the only one willing to do the dirty jobs holding America together, even if it means getting dirty yourself.

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James Franco admits sleeping with students and says he had sex addiction

Actor gives first extended comments about accusations that came nearly four years ago

James Franco has acknowledged sleeping with students of an acting school he previously ran, saying he struggled with a sex addiction and has been working to improve his behavior in recent years.

In excerpts from The Jess Cagle Podcast made public on Wednesday, Franco, 43, said that while teaching, he “did sleep with students, and that was wrong”. He said he had not started the school to lure women for sexual purposes.

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