The Six review – the Chinese survivors who were written out of the Titanic narrative

Arthur Jones’s film seeks the stories of six Chinese men who survived the 1912 tragedy and finds undisguised western racism

What’s in a name? That evergreen question is complicated even further in Arthur Jones’s fascinating documentary, executive produced by James Cameron and informed by the research of marine historian Steven Schwankert. Following the Titanic sinking in 1912, the identities of the 700-odd survivors have been mostly claimed, except for those of six Chinese men – out of eight who boarded – who remained bizarrely neglected. This film chronicles Schwankert’s quest to unravel the mystery, as his arduous journey across the US, the UK, Canada, and China takes the shape of a detective story, where each revelation exposes the blatant racism of early 20th-century western politics.

Armed with a dock slip listing the names of the Titanic’s eight Chinese passengers, Schwankert and peers’ attempt to trace their origins runs into immediate difficulties, as most of their subjects changed their identities in order to sidestep cruel and discriminatory immigration regulations. These Titanic survivors arrived in the US looking to work as labourers, and under the provisions of the Chinese Exclusion Act they were shipped to other countries immediately after the sinking. Some disappeared without a trace. The only survivor whom the researchers were able to build a coherent narrative around was Fang Lang, who founded a business in the US by changing his name and working as a merchant, shielding himself from the Exclusion Act, which targeted manual labourers.

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Singular vision: New film spotlights queer New Zealand photographer who broke the mould

When she started out 50 years ago, Fiona Clark’s work was met with rejection. Now she’s the subject of an admiring documentary

Whether documenting the crackling raw energy of Auckland’s fledgling punk rock scene in the 1970s or the hedonistic glamour of Karangahape Road’s queer culture, renowned New Zealand photographer Fiona Clark’s vibrant photos evocatively capture people and personalities in subcultures many people wouldn’t even know existed.

Seen as too confronting and radical by the New Zealand art world in the 1970s, Clark’s work was met with resistance from major art dealers who told her “we’re not handling your work”, and some of her images mysteriously disappeared from the Auckland art gallery. But Clark has never let this distract her from her singular vision.

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‘A mirror of now’: the Valencian Nazis who inspired Óscar Aibar’s new film

El sustituto based on ‘Germans from Dénia’ who sought refuge in Spain after the second world war

Óscar Aibar’s latest film, a thriller anchored in grotesque historical fact, owes its existence to a random holiday meal a decade or so ago.

The Spanish director was in Valencia for the summer when he looked up from his plate to study the pictures of famous people on the restaurant walls.

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Will Smith: now Hollywood royalty, the star’s rise has been far from painless

From Fresh Prince to King Richard, personal upsets have so far failed to derail his childhood goal to be the world’s biggest film star

There’s a seemingly offhand quality which is central to the appeal of Will Smith: an innate magnetism and loose-limbed, casual coolness. But the career path from teenage rap artist to TV actor to superstar status was anything but effortless; it was the result of a self-described “psychotic” work ethic and meticulous, perhaps even obsessive, planning.

For a while, at least, he was one of the most bankable film actors on the planet – a planet that he saved on a regular basis in summer blockbusters. But while that kind of success rate is hard to sustain, Smith has shown himself to be extremely adaptable compared to his contemporaries. From film actor/musician, he has evolved into a multimedia phenomenon. He has adopted a very marketable openness and accessibility, and embraced personal failures as teachable moments.

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Inside the world of foley artists: ‘Watermelons are brilliant for the sound of brains hitting the floor’

They are film and television’s unsung heroes: the people who create sounds, for everything from crunchy snow, kissing and horses’ hooves. Just don’t mention coconuts

Monday morning in the small Essex town of Coggeshall, and in an unassuming building that used to be a laundry, a man named Barnaby is trying to sound like a horse. Trying and succeeding, uncannily. Not neighing or whinnying, just making the sound of the hooves on the ground.

In a big screen on the wall of a windowless room is an armoured knight astride a white warhorse. It’s Richard III, as it happens, accompanied by a gaggle of guards, also armoured and mounted. It’s a scene from The Lost King, Stephen Frears’s upcoming film about the woman who, after 30 years of looking, discovered Richard’s remains under a Leicester car park.

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Rocky IV: Rocky vs Drago review – silly director’s cut is a losing battle

Sylvester Stallone’s attempt to put a new sheen on his Cold War relic of a sequel is a ridiculous and largely pointless undertaking

There’s a tension in the Rocky series between two largely incompatible conceits: Rocky Balboa as the shy, humble, gentleman brawler from working-class Philly or Rocky Balboa as the cartoon avatar of America’s can-do spirit, intrepidly grinding through title matches against stronger, faster, more colorful opponents. The first type won a best picture Oscar for its young writer/star, Sylvester Stallone, who, in classic underdog fashion, was wildly overmatched against All the President’s Men, Bound for Glory, Network, and Taxi Driver. The second type dominated the next decade in ever-more garish and cynical vehicles, none dumber than Rocky IV, which pitted The Italian Stallion against Ivan Drago, a dead-eyed, machine-tooled robot of the Soviet empire.

Now that Creed and its sequel have brought the vintage Rocky back — and, in Creed II, the surprisingly affecting return of Dolph Lundgren as Drago — Stallone has retooled Rocky IV to seem more like the original Rocky, at least insofar as such a feat is possible. His new Rocky IV: Rocky Vs. Drago is only a few minutes longer than the original cut, but there’s a significant amount of tinkering in this version, particularly toward the beginning, that’s intended to add depth to Rocky’s relationships to his friend and rival Apollo Creed (Carl Weathers) and his wife Adrian (Talia Shire), and remove some of the sillier touches, most notably the infamous robot given to his brother-in-law, Paulie (Burt Young), as a birthday gift.

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The Crown’s Josh O’Connor: ‘My advice to my 21-year-old self? Find a therapist’

Before his turn as a conflicted survivor of the first world war in Mothering Sunday, the star of God’s Own Country, The Durrells and The Crown answers your questions

If you weren’t an actor and you had to work in the film industry, what would you like to do? avishagfink

I would like to be a ceramicist. I still want to be a ceramicist while also being an actor. A functional ceramicist. My grandmother was a sculptural ceramicist and she was very brilliant, but I’d like to make plates and pots and mugs. I’m a big fan of Ian Godfrey and I’m very fortunate to have a couple of his pieces. Lucie Rie and Hans Coper I really like; Richard Batterham, very much.

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Peter Jackson sells special effects studio Weta Digital for $1.63bn

The Wellington-based studio built characters and scenes for films including Avatar, Lord of the Rings, Wonder Woman and Planet of the Apes

The special effects studio co-founded by Sir Peter Jackson, which has brought blockbusters including Lord of the Rings and Game of Thrones to life, has been sold for more than $1.6bn, in the latest blow to New Zealand’s film and TV industry.

The cash and shares deal, which will see Weta Digital sold to US-based video game company Unity Software for $1.63bn, comes less than three months after Amazon made the shock decision to move its $1bn-plus development of a small screen adaptation of JRR Tolkien’s Lord of the Rings (LOTR) from New Zealand to the UK after shooting just one series.

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Volcano review – spoon-glueing Ukrainian adventure takes a surreal turn

Roman Bondarchuk handles this strange tale about an interpreter left stranded with some locals with deadpan poise

“That’s our wandering buoy. It slipped its anchor near the dam. It appears and disappears at will.” A light, unfathomable absurdity governs this 2018 fiction debut by Ukrainian documentarian Roman Bondarchuk, set in the area around the city of Kherson; a sun-roasted steppe north of the Crimea where Organisation for Security and Cooperation in Europe (OSCE) interpreter Lukas (Serhiy Stepansky) becomes stranded. He’s escorting an SUV full of foreign delegates when it breaks down and he wanders off in search of a mobile signal. On his return, both car and foreigners have vanished.

Hitching a ride, Lukas is invited to stay with Vova (Viktor Zhdanov), a middle-aged potterer living with his mother and daughter in a capacious ramshackle construction on the banks of the Dnieper river. So begins Lukas’s initiation – like a milder Ukrainian version of Wake in Fright – into the local anomie. Vova enjoys sticking spoons to his forehead using the supply of glue that was his severance payment from the Soviet fish farm he worked for; then Lukas gets an invite to a listless student party where someone nicks his jacket and wallet. Constantly slipping sly details into the frame, Bondarchuk handles the whole farrago with a lovely deadpan poise. Incensed by the theft, Lukas heads to the police station to make a complaint. Cut to him in the cells.

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Dean Stockwell, Quantum Leap and Blue Velvet actor, dies aged 85

Versatile actor had worked in Hollywood since childhood, and was Oscar nominated for his role in 1988 comedy Married to the Mob

A life in pictures: Dean Stockwell

Dean Stockwell, the former child star who became a key figure in the Hollywood counter-culture and enjoyed late success in popular TV shows, has died aged 85. According to Deadline, his family said he died at home “of natural causes”.

Born in Los Angeles in 1936, Stockwell had become a major name while still in high school, starring in the anti-racism parable The Boy With Green Hair in 1948 and alongside Errol Flynn in the 1950 adaptation of Rudyard Kipling’s Kim. However, Stockwell found the transition to adulthood difficult and after dropping out of university he re-established his film career with a lead role in Compulsion, the 1959 crime film based on the Leopold and Loeb murder case, for which he won a best actor award at the Cannes film festival alongside co-stars Orson Welles and Bradford Dillman.

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Knocking review – noises in the night fuel urban paranoia and apartment angst

Claustrophic tale of a woman falling apart in her flat is familiar territory, but told here with fresh panache

Documentary-maker Frida Kempff makes her feature debut with a Swedish-set thriller drenched in urban paranoia. Molly (Cecilia Milocco), who has recently finished a stay at a psychiatric hospital following a personal tragedy, has moved into a new flat hoping for a fresh start. The plan proves futile: she is soon plagued by mysterious, relentless sounds of knocking coming from her ceiling. Convinced that someone is being hurt, Molly is determined to trace the origin of this mysterious cry for help, only to be faced with others’ disbelief and her own deteriorating sanity.

Such a premise is by no means novel – apartment angst has been done to death since at least the mid-60s, after Polanski’s Repulsion – yet the eerie visuals and Milocco’s heart-wrenching performance elevate Knocking above its otherwise thin plot. Set during a scorching heatwave, the film beautifully pairs the restlessness of the summer with Molly’s own wandering mind, which scissors back and forth between her claustrophobic present and sun-drenched memories of a former lover on the beach. Natural light only exists in these aching echoes of the past. Mostly shot inside Molly’s flat, the imagery is smothered in jaundiced fluorescent tones, only accentuating her isolation and worsening state of mind.

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7 Prisoners review – a powerful tale of slavery in modern-day São Paulo

An impoverished teen seeks to escape the clutches of a human trafficker in Alexandre Moratto’s complex drama

Brazilian director Alexandre Moratto’s follow-up to his award-winning debut Socrates, 7 Prisoners delves into the subject of modern slavery through the eyes of 18-year-old Mateus (Christian Malheiros, excellent). In order to support his family, Mateus takes a job in the city, but finds himself imprisoned and working off a seemingly endless debt to his employer (Rodrigo Santoro). His initial reaction is desperation and anger, but Mateus is smart and negotiates with his captor on behalf of his fellow workers. The rather on-the-nose storytelling grows increasingly complex and interesting the further that the protagonist ventures into morally ambiguous territory.

In cinemas and on Netflix from 11 November

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Will Poulter: ‘I have a lot of pinch-myself moments’

It’s not often a young actor finds himself shooting scenes with the likes of Leonardo DiCaprio, Jennifer Aniston or Michael Keaton. But such has been the meteoric career of Will Poulter. He talks to Tim Lewis about boomerang eyebrows, acting and activism – and his sneaker obsession

The actor Will Poulter arrives for our lunch date alone, 15 minutes early and, perhaps counter-intuitively, carrying a bag of his own food. He explains that he’s on a strict diet for a film role, but can’t tell me what the part is. He buys a juice from the café that I’m not sure he actually wants, and suggests we sit outside, which is pretty damp and cold if I’m honest, because he thinks it would be taking the piss somewhat to occupy a table inside when he’s only bought a drink. Poulter’s thoughtful like that. He then unwraps what looks like a chocolate Rice Krispie square, but tastes much less fun apparently, and apologises that I have to watch him chomp his way through it. “I’m speaking fluent cake,” he says, chewing dutifully. He has just come from a workout and it’s clear that his pandemic experience has included more than just the occasional Joe Wicks session. He wears a black Nike compression shirt, mercifully less figure-hugging shorts and, though it’s not very 2021 to note this, the guy is shredded.

The whole, slightly strange scene makes a lot more sense a couple of weeks later when the reason for Poulter’s carb-loading and gym-bunnying is revealed. The gig he couldn’t talk about is that he has been cast in Marvel’s Guardians of the Galaxy Vol 3 as Adam Warlock. Even if you’re not that invested in the superhero universe this, in Hollywood power terms, is a big deal. It’s rumoured that pretty well every 20-something actor here and in the US and beyond wanted the role. It is a huge coup for Poulter and the 28-year-old from west London is taking the transformation into Warlock, a character genetically created by scientists to be the perfect, invincible human, seriously. And if that means eating bland, protein-packed oat snacks, so be it.

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On my radar: Damon Albarn’s cultural highlights

The musician and composer on a magical performance by Udo Kier, a west African drumming app and where to find a taste of Palestine

Damon Albarn was born in east London in 1968. Interested in music from a young age, he studied at East 15 Acting School and then Goldsmiths, where he co-founded the band that helped kick off Britpop. As well as recording eight studio albums with Blur, Albarn also co-created Gorillaz and the Good, the Bad & the Queen, spearheaded the collaborative organisation Africa Express and has scored stage productions including Monkey: Journey to the West and Dr Dee. He lives in Notting Hill, west London, with his partner, Suzi Winstanley. On 12 November, Albarn releases his second solo album The Nearer the Fountain, More Pure the Stream Flows on Transgressive Records.

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Andrew Garfield: ‘I don’t think I present as goody-goody’

With his films Tick, Tick ... Boom! and The Eyes of Tammy Faye tipped for Oscars success, he discusses his inner malevolence, his mother’s death – and his ‘heartbreaking’ time as Spider-Man

Andrew Garfield is smiling beatifically and clasping his hands together as if in prayer. The pose suits an actor who has cornered the market in the holy and heroic, from a Jesuit priest in Silence to a Seventh-day Adventist saving lives on the battlefield in Hacksaw Ridge; from a man left paralysed by polio in Breathe to a credulous innocent who dies surrendering his organs in Never Let Me Go. He is a remarkable actor, but watch too many of his movies back to back and you are liable to hear celestial trumpets.

His prayer-like gesture of gratitude comes in response to my promise not to ask whether he and his fellow former web-slinger Tobey Maguire will be appearing in the new Spider-Man: No Way Home. “I appreciate that,” says the 38-year-old, speaking over Zoom from Calgary, where he is shooting the murder-and-Mormons series Under the Banner of Heaven. There seems no point posing the Spidey question when he has greeted each identical inquiry this year with a display of shrugging bafflement that may or may not be genuine. (Let’s see when the movie opens next month.)

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‘We feel pride’: old Western gets new life dubbed in Navajo language

Clint Eastwood’s A Fistful of Dollars is the latest to be dubbed in the Indigenous language set to premiere on 16 November

Manuelito Wheeler isn’t sure exactly why Navajo elders admire Western films.

It could be that decades ago, many of them were treated to the films in boarding schools off the reservation decades ago. Or, like his father, they told stories of growing up gathered around a television to watch gunslingers in a battle against good and evil on familiar-looking landscapes.

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Dwayne ‘The Rock’ Johnson vows to stop using real guns on film sets after Baldwin shooting

Actor bans real guns in movies made by his company after the fatal shooting of cinematographer Halyna Hutchins

Hollywood action star Dwayne Johnson, known as The Rock, has promised to not use real guns in his movies anymore after a fatal shooting incident involving actor Alec Baldwin on a film set in New Mexico last month.

Johnson, who was in Los Angeles attending the world premiere of his new Netflix blockbuster, Red Notice, with co-stars Ryan Reynolds and Gal Gadot, said on Wednesday films made by his company, Seven Buck Productions, would “not use real guns ever again”.

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Natalie Wood was sexually assaulted as a teen by Kirk Douglas, her sister writes in memoir

In a memoir coming out next week, Wood’s younger sister identifies the actor’s long-suspected assailant

For decades, it’s been one of Hollywood’s darkest rumors: Natalie Wood was sexually assaulted by a top movie star more than twice her age when she met with him at a hotel in Los Angeles as a teenager.

In a memoir coming out next week, Wood’s younger sister identifies the long-suspected assailant: Kirk Douglas.

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Minari’s Youn Yuh-jung: ‘I’m very strange-looking, in a good way’

As the London Korean film festival kicks off, Youn Yuh-jung, talks about how her portrayals of racy grannies and scheming maids scandalised the nation

In her Oscar-winning turn in last year’s Minari, Youn Yuh-jung played the mischievous granny you wished you’d had: the one who ignores your fun-sucking parents, takes you on wild adventures and teaches you to do your own thing. “You’re not a real grandma,” her Americanised grandson tells her. “They bake cookies! They don’t swear! They don’t wear men’s underwear!” In real life, Youn is pretty similar: lively, funny, unpretentious, and, she admits, not all that good at cooking. The 74-year-old actor has had an unconventional life and career, and most of us in the west know only a tiny fraction of it.

“My problem is, I don’t plan anything!” Youn laughs over Zoom from Los Angeles. Unlike her character in Minari, she speaks fluent English, although she apologises for it not being good enough.

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