Luz: The Flower of Evil review – arty horror strangely mutes its women

Colombian horror about a micro-cult is rather too fascinated by the barbarity of its leader, rather than the daughters he has hidden from the world

This bold and disturbing arthouse horror from first-time feature director Juan Diego Escobar Alzate feels like it could be set sometime in the 19th century. It’s about a tiny religious cult based in the wildly beautiful Colombian mountains: the group’s leader is El Señor (Conrado Osorio), a farmer who looks like a cowboy in the Clint Eastwood mould, with a macho growl; his trio of daughters wear frontier prairie dresses. But we must be closer to the present day: in an early scene the eldest, 23-year-old Laila (Andrea Esquivel), brings him a 1980s cassette player that she has found in the woods and she is spellbound by this unknown contraption. El Señor says the devil lurks inside.

It’s an intriguing set-up, and cinematographer Nicolás Caballero Arenas shoots the lush landscape through what looks like a trippy filter; blazing sunsets and garish rainbows give the film a quasi-fairytale, almost surreal feel. El Señor has raised his daughters in total ignorance of the world outside their community of a dozen or so. But the film is depressingly thin on the women; often it seems more interested in arranging them in arty tableaux than investigating the way that isolation has shaped their personalities and how they see the world. The wafty Terrence Malick-ish voiceover written for Laila doesn’t exactly fill in the psychological gaps.

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Scarlett fever: why Black Widow has sparked a trend for red hair

What does a 163% surge in demand for red hair dye tell us about the way Marvel’s latest, and star Scarlett Johansson, have been marketed and received?

If you happen to see an unusually large number of women with red hair today, do not be alarmed. We haven’t been invaded by vikings again, nor is there a Nicola from Girls Aloud convention happening in your vicinity. There is a perfectly reasonable explanation for the sudden outbreak of redheads, and it is that Black Widow was recently released.

According to the website Justmylook, there has been a 163% spike in demand for the colour since the release of Black Widow, presumably because lots of people sat through two hours and 14 minutes of a film about a woman grappling with the psychological torment of knowing she was part of a Soviet military programme that brainwashed, sterilised and murdered hundreds of abandoned girls, only to think: “Ooh, I bet I’d look lovely with her hair.”

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‘Everyone was going full pelt’: how Giddy Stratospheres captured indie’s hedonistic 00s

The euphoria and tragedy of the 00s indie music scene are the subject of Giddy Stratospheres. Is it accurate? Klaxons, the Long Blondes, New Young Pony Club and more look back – and give their verdict

If you ever ran for a dawn train after a narcotic all-nighter in 2007 with The Rat by the Walkmen pounding through your liquified brain and a hip flask of “breakfast vodka” in your pocket, expect flashbacks from the opening moments of Giddy Stratospheres, director Laura Jean Marsh’s debut film set amid the euphoria, hedonism and tragedy of the 00s indie rock scene.

“We were all so young, feeling invincible and wanting it not to end,” says Marsh, who put on gigs by bands such as the Horrors and Black Wire at her Dolly Rockers club night, hosted parties for the Mighty Boosh and sang with guitar pop band Screaming Ballerinas before moving on to acting and video directing.

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Chien film festival: Tilda Swinton’s dogs win canine award at Cannes

Actor starred with springer spaniels Snowbear, Dora and Rosy in The Souvenir Part II

It is one of the most sought-after prizes in the movie world; not the celebrated Cannes Palme d’Or for best film, awarded on Saturday night to French entry Titane, but its animal alternative the Palm Dog.

This year’s coveted leather collar award conferred for the best canine performance on screen was given to Tilda Swinton’s three springer spaniels as the prize celebrated its 20th anniversary – its 103rd in dog years.

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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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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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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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‘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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Emily Blunt’s 20 best film performances – ranked!

With her latest movie, Jungle Cruise, out this month, we round up the finest work by the star of The Devil Wears Prada and A Quiet Place Part II

Emily Blunt can make bad films tolerable. Even her talents were stretched, though, by this horror reboot. She lounges demurely on a riverbank in funeral dress while Benicio del Toro grunts and growls and Anthony Hopkins goes full ham. The original director, Mark Romanek, jumped ship to be replaced by Joe Johnston. The result is a wolf’s dinner.

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Flag Day’s Dylan Penn: ‘I didn’t know if I was capable of going toe-to-toe with my dad’

Her career has snaked from delivering pizzas to modelling, but Penn’s latest job – starring in a Cannes drama alongside her dad, Sean – was the most daunting yet

Dylan Penn receives guests high above the Croisette, in a sterile penthouse suite overlooking the sea. It’s a perch befitting her status as visiting Hollywood royalty, the daughter of Sean Penn and Robin Wright, starring alongside her dad in this year’s Cannes competition. She’s got her phone and her water and a stylist in the wings. She’s been up here all day and won’t descend until dusk. She has tickets to see the new Wes Anderson film.

In the fact-based Flag Day, her first major role, she plays Jennifer Vogel, the daughter of an inveterate conman. John Vogel describes himself as an entrepreneur with a broad portfolio, which is another way of saying that he’s a bank robber, arsonist and counterfeiter; always up to no good, constantly looking over his shoulder. Jennifer wants to break free but can’t quite cut the cord. “In my dreams, my father was always the prince,” she explains.

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Drive My Car review – mysterious Murakami tale of erotic and creative secrets

Ryûsuke Hamaguchi reaches a new grandeur with this engrossing adaptation about a theatre director grappling with Chekhov and his wife’s infidelity

Ryûsuke Hamaguchi’s mysterious and beautiful new film is inspired by Haruki Murakami’s short story of the same name – and that title, like Murakami’s Norwegian Wood, is designed to tease us with the shiny wistfulness of a Beatles lyric. Hamaguchi’s previous pictures Asako I and II and Wheel of Fortune and Fantasy were about the enigma of identity, the theatrical role play involved in all social interaction and erotic rapture of intimacy. Drive My Car is about all this and more; where once Hamaguchi’s film-making language had seemed to me at the level of jeu d’esprit, now it ascends to something with passion and even a kind of grandeur. It is a film about the link between confession, creativity and sexuality and the unending mystery of other people’s lives and secrets.

Yûsuke (Hidetoshi Nishijima) is a successful actor and theatre director who specialises in experimental multilingual productions with surtitles – he is currently working in Beckett’s Waiting for Godot and is preparing to play the lead in Chekhov’s Uncle Vanya. He has a complex relationship with his wife Oto (Reika Kirishima), a successful writer and TV dramatist who has a habit of murmuring aloud ideas for erotic short stories, trance-like, while she is astride Yûsuke having sex, including a potent vignette about a teenage girl who breaks into the house of the boy with whom she is obsessed.

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Fiona Shaw: ‘I got to Hollywood at 28 and they said: You’re very old’

The thrilling star of stage continues her TV takeover. As she joins mercilessly dark drama Baptiste, Shaw talks about Fleabag, American burnout – and marriage as a cure for chaos

There is a man outside, doing something to the windows of Fiona Shaw’s house in London, and he appears to be following her from room to room. No sooner has she laughed, apologised, picked up her laptop (we’re speaking on Zoom) and sought peace elsewhere than – scrape, tap – the top of a ladder appears again, and his face looms behind her.

No wonder. I feel like following Shaw around everywhere too. She is such fun, bracing company. She can swing from references to Freud to word-perfect renditions of Yeats lines learned in childhood, and makes some lovely observations: describing lunch with Phoebe Waller-Bridge, she says the Fleabag creator is “like April or May. She’s blossoming on all fronts, all her fingers are light green.” Even the man working on Shaw’s windows is likened to something out of Rapunzel. She seems to delight in everything.

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It’s time to stop making movies about Ted Bundy | Adrian Horton

The trailer for American Boogeyman, yet another film to cast a handsome actor as a serial killer, faces backlash. Who is asking for more Bundy content?

Ted Bundy, the serial killer convicted of murdering more than 30 women in the 1970s who probably killed upwards of 100 whose names receive little attention, once mused, in interviews on death row, that he hoped his story would sell. Thirty-two years after his death by electric chair, Bundy seems to have been prescient about a curiosity with the mild-looking sociopath. The past couple years has seen a veritable “Bundy binge” in true crime content: a two-hour Oxygen special, too many podcasts to list, the Netflix docuseries Conversations with a Killer: The Ted Bundy Tapes and the biopic Extremely Wicked, Shockingly Evil and Vile, starring Zac Efron as a suave Bundy.

Related: Just another pretty face: should Hollywood stop giving bad guys a face-lift?

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Mi Iubita Mon Amour review – touching debut from Noémie Merlant

The Portrait of a Lady on Fire star has made a superbly low-key film about the ill-fated flirtations a teenager and older woman

Noémie Merlant is the French acting star who two years ago helped make Céline Sciamma’s Portrait of a Lady on Fire a colossal critical hit at Cannes. Now she provides one of the festival’s incidental pleasures with her engaging if flawed directorial feature debut, presented here as a special screening. She has written it with her co-star, the emerging Romany actor Gimi-Nicolae Novaci, whom she discovered and cast as a nonprofessional in Shakira, the short film she directed in 2019 about gypsy communities in Paris. There is a definite screen chemistry between them here, and at times Mi Iubita (Romany for “my love”) Mon Amour almost comes across like a straight Call Me By Your Name.

Related: The Souvenir Part II review – a flood of austere sunlight in Joanna Hogg’s superb sequel

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A Hero review – Asghar Farhadi’s realist tale is just too messy and unsatisfactory

Plot holes trip up the Iranian director’s drama of a slippery man’s desperate efforts to trick his way out of debtors’ prison

Asghar Farhadi has made a tangled film about the tangled web we weave when first we practise to deceive, in that calmly observant, realist yet information-withholding style with which this director made his name. In way, A Hero is a slice-of-life story, in which the “i”s and the “t”s are not necessarily dotted and crossed like a regular screenplay; it has the unsatisfactory, unclear messiness that real life has. There is plenty of interest here - and yet I have to admit to slight reservations about the melodramatic contrivances, which stretch credulity a little.

A Hero is a film that works because of a clever and subtle performance from Amir Jadidi as Rahim, a divorced father who has just been released from jail on a two-day parole, having been imprisoned for debt. He is a man with a bright yet strange, desperate smile, like one of the poor relations in Dickens. He is looking forward to being reunited with his girlfriend, his supportive sister and his beloved son – a gentle, sensitive boy with a speech impediment. Rahim is a man who believes that some sort of charming niceness might still get him get out of a jam. But he has a very specific plan for cancelling his prison sentence. His girlfriend has found a handbag in the street containing what appear to be gold coins: if they could sell them to a gold dealer, might that not raise enough for a deposit to persuade his creditor to forgive the debt?

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‘I’d let you bite me!’ Shark Beach With Chris Hemsworth is dangerously flirty TV

Never mind that the Hollywood star has never encountered a great white – this documentary has Thor, his perfect jawline … and flirting so full-on it could crack the camera lens

There are only three reasons why you would watch the new documentary Shark Beach With Chris Hemsworth: you love sharks, beaches or Chris Hemsworth. Hopefully it’s the latter, because that’s clearly what the producers have anticipated.

The opening scene sees the Hollywood actor gazing out to sea at sunrise, surfboard under his arm, blue-steeling the horizon. “There’s nothing quite like the ocean at first light,” he murmurs, as if auditioning for an aftershave commercial. Waves crash. Hemsworth smoulders. A didgeridoo blows.

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The Earth Is Blue As an Orange review – subtle doc tells Ukrainian family’s war story

Iryna Tsilyk sensitively captures a family caught up in the conflict with Russia who are trying to make a film of their own

This sensitive and astute Sundance-winning documentary, in which Kyiv-based director and poet Iryna Tsilyk haunts the back alleys of the Russo-Ukrainian war, is the antidote to the warped propaganda-fest the conflict was depicted as in the 2018 film Donbass. It layers fact and fiction as delicately as an onion as it focuses on the Trofymchuk-Gladky family, who are attempting to shoot piecemeal their own fictional work, called 2014, based on their wartime experiences. But, here, artifice and cinema work entirely in the service of good. They are a source of self-expression and spiritual nourishment for Ukrainians beaten down by close to a decade of fighting.

Tsilyk mentored budding film-maker Myroslava Trofymchuk at a workshop, and it is the teenager we see here calling the shots for her family as they act in scenes hunkering down in their cellar; echoes of the shock and trauma they are simultaneously living for real, inspecting bomb damage by smartphone light. The whole household – including single mother Anna and her other three children – is clearly deeply invested in the project, squabbling over shot choices at dinner. After jubilantly celebrating her daughter being accepted for a film scholarship in Kyiv, Anna packs her off, still in hyper-protective mode: “The only thing, I beg you, if you are being bullied, please call me.”

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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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