What is high school like around the world? A new film lets students investigate

The documentary The Smartest Kids in the World follows four frustrated American students as they explore different high schools abroad

Sadie, a 16-year-old high school junior in Harpswell, Maine, felt off-kilter in her American high school – too much memorization, not enough relevance to hands-on work in prospective careers. “I know it doesn’t have to be like this,” she says of her school days in The Smartest Kids in the World, a new documentary on international educational systems. Brittany, a junior outside Orlando, Florida, spends hours on homework but finds her curiosity unchallenged. “I kinda just wonder … what are we doing?” she muses. Jaxon, 16, from the small town of Saratoga in south-eastern Wyoming, finds himself torn between wrestling practice and sleeping two extra hours before his ACT, where one point marks the difference between free college tuition and $30,000 a year. “It’s only my life,” he shakes his head, “practically, everything in it.”

Related: 'It's a wake-up call': behind the film urging investment in pre-school education

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Batman & Robin: time to revisit Joel Schumacher’s maligned, silly and endlessly quotable film

The widely detested 1997 adaptation and its various bizarre spin-offs are worth a reappraisal in this era in which nothing makes sense

Serious comic book fans and discerning cinephiles consider director Joel Schumacher’s Batman & Robin from 1997 one of the worst films ever made – but they are wrong. It’s easily more entertaining than Christopher Nolan’s feted Batman trilogy (come at me Nolanites) – an endlessly quotable and absurd corporate climate change parable and the source of teenage mania among my early 2000s high school friends.

The intensely silly caper is more reminiscent of the 60s TV show, and Silver Age comics, than the brooding 80s publications that inspired Nolan and everyone since. Fans were understandably upset with the film’s reduction of Bane (one of Batman’s most intelligent foes) to a witless henchman; but in The Dark Knight Rises, Nolan and Tom Hardy turned Bane into a helium-fuelled, amateur Shakespearean actor, so, whatever.

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‘It’s hot right now to have an Asian lead’: Manny Jacinto on The Good Place, Nicole Kidman and Tom Cruise

The role of DJ Jason Mendoza catapulted the 33-year-old to fame. Now he’s starring with Kidman in Nine Perfect Strangers – and being entranced by Cruise in the Top Gun reboot

On YouTube, you can see Manny Jacinto getting the surprise of his life. During a break from filming, the stars of The Good Place are informed of the smash-hit comedy’s mind-boggling plot twist. Castmate Jameela Jamil covers her face with her hands. William Jackson Harper shouts out loud. Jacinto jerks his head around frantically, as if trying to make sense of this astonishing development purely through the power of repetitive neck movement.

“I wish I could bottle up that feeling and have everybody experience it,” says Jacinto wistfully, five years later. “It was incredible.” Fans of the heaven-set sitcom will know what he means: the revelation was up there with the best plot twists of all time (spoiling it would be a crime). Yet for Jacinto the show did far more than pull the rug from under him. Winning the role of nice-but-ridiculously-dim DJ Jason Mendoza sent shockwaves through his entire life, catapulting the 33-year-old from relative obscurity to the kind of stardom that invariably accompanies a Netflix success story.

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Underground review – mine explosion disaster film digs deeper than most

French-Canadian director Sophie Dupuis puts human drama ahead of the action in this naturalistic, character-driven film

Here is an arthouse disaster movie from Quebec: a naturalistic, character-driven drama about what it might truly look like if a mineral mine exploded, trapping five workers underground. It’s the second feature from French-Canadian director Sophie Dupuis, who herself grew up in a mining family.

She opens her film in the heat of the rescue: red lights flashing, a response team descending into darkness. One of the rescuers, Max (Joakim Robillard), would be the hero of the Hollywood version, running around hot-headedly, disobeying orders: “Fuck you! I’m going to get the others!” Actually, much of the film is about how damaging it is for Max living with this tough-guy masculinity.

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Pose star Sandra Bernhard: ‘I never tried to be revolutionary. That’s just who I was’

The trailblazing actor and comedian on asserting her bisexuality in the 80s, misogynistic male comics – and befriending Madonna

During nearly five decades in showbiz, Sandra Bernhard has racked up title after title – comedian, actor, singer, author, radio host – and a reputation for controversy. She has worked with a long list of superstars, from Richard Pryor and Robin Williams to Robert De Niro and Cyndi Lauper. But she has never been overshadowed; her force of personality has guaranteed that. Even 30 years ago, the Los Angeles Times was paying homage to her “acid-tongued, antagonistic persona”.

But there are no cutting remarks today. On this sunny morning in LA, she appears relaxed, in a pink-striped shirt and trousers, reminiscent of the early 80s outfits she wore for her many appearances on Late Night With David Letterman.

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Actor Carrie Coon: ‘My husband says I have ice-water in my veins’

The chameleon-like star of Fargo and The Leftovers on performing opposite Jude Law in new thriller The Nest, the sophistication of British audiences – and her ‘showmance’ with husband Tracy Letts

A toddler is playing a tuba in the next room and Carrie Coon apologises in advance if she’s a little distracted. Unexpectedly saddled with childcare duties today, the 40-year-old is keeping one eye on her two children – three-year-old son Haskell and his month-old sibling – while she chats over Zoom from her Chicago home.

The Ohio-born actor is currently enjoying something of a well-earned moment. Best known for TV roles including grieving widow Nora Durst in post-apocalyptic saga The Leftovers and divorced, dogged Minnesota cop Gloria Burgle in the third (and best) season of Fargo, for which she was Emmy nominated, she now stars alongside Jude Law in acclaimed new psychological thriller The Nest. This autumn she also plays one of the leads in the eagerly awaited reboot of the Ghostbusters franchise.

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Director Ken Loach says he has been expelled from Labour

Leftwing film-maker claims move by party is because he would ‘not disown those already expelled’

The veteran leftwing film-maker Ken Loach has said he has been expelled from the Labour party.

Loach, whose films are regarded as landmarks of social realism, claimed the move by the party was because he would “not disown those already expelled”, and he hit out at an alleged “witch-hunt”.

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Bollywood’s Kareena Kapoor subject to online abuse over baby’s name

Supporters say attacks over choice of name similar to 17th-century Muslim Mughal emperor rooted in prejudice against inter-faith marriage

Bollywood star Kareena Kapoor has received abuse online from extremists over her new baby’s name.

Kapoor has been attacked on social media for calling her second son Jehangir, the imperial name of the 17th-century Mughal emperor, which means “conqueror of the world”. Kapoor, a Hindu, and her husband, Saif Ali Khan, a Muslim and also a Bollywood star, have faced abuse for their marriage.

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The Cloud in Her Room review – exquisite slow-burn study of a quarter-life crisis

Chinese film-maker Zheng Lu Xinyuan makes her debut with a dreamlike distillation of a young woman’s alienation from family and friends

“A few days ago, I met someone.” A woman makes the confession matter-of-factly to her on-off boyfriend as they try to find somewhere for dinner. At that moment the camera pans up to the sky, and when it fades back to the street, the couple have gone, vanished into thin air. It’s not the only time that Chinese film-maker Zheng Lu Xinyuan, making her feature debut, cuts away from characters at precisely the moment another director would go in for a close-up; it may drive you crackers.

This film is pure slow-burn arthouse, shot in black and white, the format dominated by flashbacks – perfect for a film that drifts along on scraps and dreamlike fragments. It follows aimless 22-year-old Muzi (Jin Jing) who is back in her hometown, Hangzhou, visiting her folks for Chinese new year. Nothing much happens. In an early scene a gay friend asks Muzi to have a baby for him; his parents are desperate for a grandchild. Her boyfriend, a sensitive, shaggy-haired photographer (Zhou Chen), shows up unexpectedly from Beijing. Muzi is also flirting with a local bar owner (Dong Kangning) who clearly rates himself. Her parents have been divorced for years. She smokes cigarettes with her dad (Ye Hongming), an artist and jazz musician. A couple of scenes hint at emotional tensions with her mum (Dan Liu), a woman with the glamour and poise of a 1950s movie star; after a drunken karaoke session, her mum is sick on the street. When Muzi leans down to help, mum roughly shoves her away.

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‘I’m angry about a lot of things’: Japanese actor Minami on her new eco-drama with Johnny Depp

The actor and painter explains why the world needs to see Minimata, the new film about the mercury poisoning scandal that W Eugene Smith helped expose

Like Cher or Madonna, Minami is a one-name wonder. “I have my French and Japanese family names,” the 34-year-old actor says over video call from a pink hotel room in Tokyo. “But ‘Minami’ is simpler.” She gives a single, decisive nod. “Just write ‘Minami.’” She chose the mononym at 13 when she featured in her first film, Battle Royale, a gory cult thriller about schoolchildren fighting to the death on an uninhabited island. “When I went back to school, everyone said: ‘Your arms are all bruised, you have scratches, what’s going on?’ They thought my parents were beating me.”

Even when telling a story like this with dark undertones, her manner is insistently perky, as though she doesn’t want the listener to misread her as dour. When I ask about her Battle Royale audition, for instance, she blithely recalls “walking into the room and there were 10 men, and they asked me if I could do a handstand, and two of the men held my legs against the wall to help me …” I must be grimacing because she breaks off from the anecdote to reprimand me lightheartedly: “Don’t make that face! It was all fine.”

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Bowie, bed-hopping and the blues: the wild times of Dana Gillespie

She tamed Keith Moon, got laughed into bed by Bob Dylan and went to a young David Bowie’s house for tuna sandwiches – but the blues singer’s 72 albums are what really define her

“No one has understood how deeply rooted in music I am because they got distracted by my tits,” Dana Gillespie complains.

Now 72, the singer and songwriter’s curvaceous figure ensured she regularly appeared in both tabloids and films from the 1960s to 80s but, she says, this was a mere sideline: music was always her mission in life, it’s just that the British refuse to take her seriously. In Austria and Germany – where she has enjoyed hit singles and hosted a long-running radio show – they do. Ditto in India, where she records devotional music with leading Indian musicians. But in Britain she is too often been relegated to “lover of” status for her string of flings with the likes of Bob Dylan, David Bowie, Mick Jagger and Michael Caine. “I’m Britain’s best-kept secret,” says Gillespie, and she may well be correct.

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Pedro Almodóvar’s films – ranked!

With his new film, Parallel Mothers, to be shown at Venice film festival, we take a look through the director’s ribald, pell-mell and beautifully colour co-ordinated output

Airline staff and passengers take drugs and act out their sexual fantasies as their plane prepares for an emergency landing. Not so much Airplane! as a sexed-up The High Life, but frothier. Best watched with tequila, poppers and the campest chums you can find.

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Josee, the Tiger and the Fish review – beautiful-looking anime takes a trip to the zoo

This romantic animation about a paraplegic woman’s relationship with a marine biology student suffers for its sweetness

This gorgeous-looking, swooningly romantic anime feels like it could win over YA audiences: it’s heartfelt, unthreatening and rather lovely. Its representation of disability does feel a bit iffy in places, though: presenting a 24-year-old paraplegic woman, Josee, as fundamentally in need of fixing or rescue. Near the start she meets Tsuneo, a dreamily gorgeous diver and marine biology student, who saves her hurtling out of control down a hill in her wheelchair. She is a helpless victim – and not for the last time in the movie.

When Tsuneo walks Josee back to her apartment, her grandmother hires him as a part-time carer. The job involves spending a couple of hours with Josee every day. The one rule is that he can’t take her outside. At first, Tsuneo can’t stand his petulant and demanding client, who calls him “my servant” and orders him around. But slowly he’s smitten and develops something worryingly like a saviour complex. It turns out that Josee’s overprotective grandmother has kept her confined at home to make sure she is safe. As a result, she is childish and emotionally immature, but a fiercely talented artist.

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Bleed With Me review – three’s a crowd in taut bloodsucking horror

Amelia Moses’ feature debut keeps us guessing as to who is the hunter and who is the prey as a holiday in the woods turns sour

Writer-director Amelia Moses makes her feature debut with this tautly constructed work of psychological horror which, although far from perfect, certainly suggests she’s a talent to watch out for. Like British film-maker Rose Glass’ outstanding horror-adjacent breakthrough Saint Maud, Moses’ story circumnavigates a relationship between two women, one that is charged with an intensity that’s more than platonic but less than erotic, and inflected by an unequal power distribution.

The story takes place in Canada. We largely we see it unfold through the eyes of Rowan (Lee Marshall, excellent), a young office drone who meets the more confident and glamorous Emily (Lauren Beatty) at work when Emily saves her from a sexually predatory co-worker. With the pair having become friends, Emily invites Rowan to come with her for a holiday stay in a secluded, snow-capped cabin in the woods along with Emily’s boyfriend Brendan (Aris Tyros).

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Marvel and DC face backlash over pay: ‘They sent a thank you note and $5,000 – the movie made $1bn’

As the comics giants make billions from their storylines and characters, writers and artists are speaking out about their struggles for fair payment

Watch any superhero movie and you will see a credit along the lines of “based on the comic book created by”, usually with the name of a beloved and/or long-dead writer or artist. But deep, deep in the credits scroll, you will also see “special thanks” to a long roster of comic book talent, most of them still alive, whose work forms the skeleton and musculature of the movie you just watched. Scenes storyboarded directly from Batman comics by Frank Miller; character arcs out of Thor comics by Walt Simonson; entire franchises, such as the Avengers films or Disney+ spinoff The Falcon and the Winter Soldier, that couldn’t exist without the likes of Kurt Busiek or Ed Brubaker.

The “big two” comic companies – Marvel and DC - may pretend they’ve tapped into some timeless part of the human psyche with characters such as Superman and the Incredible Hulk, but the truth is that their most popular stories have been carefully stewarded through the decades by individual artists and writers. But how much of, say, the Marvel Cinematic Universe’s (MCU) $20bn-plus box office gross went to those who created the stories and characters in it? How are the unknown faces behind their biggest successes being treated?

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Kiefer Sutherland and Rob Reiner: how we made Stand By Me

‘River Phoenix was like a 13-year-old James Dean. There was so much soul there’

This was the only audition where I did the reading and was hired right there in the room. I absolutely adored Spinal Tap, so to get that kind of affirmation from a director like Rob Reiner at that time in my life was really powerful.

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True Stories: Spaces review – impressive short docs from folk horror to a Lebanese marvel

This short film collection from the True Story platform ranges across continents to look at how we interact with our environments

Deeply psychogeographical, this collection of documentary shorts from the streaming platform True Story roams among spaces old and new, and across continents. Personal and public memories are intertwined, creating portraits of how human beings interact with their environments, and vice versa.

Paul Heintz’s nocturnal Shānzhài Screens is a meditative study of liminal urban spaces, shot in a Chinese district that specialises in fine-art reproductions. Rectangular frames populate the screen, from flickering apartment windows, hurried video calls, to endless replicas of Van Gogh’s Sunflowers. Authenticity is elusive, and loneliness reigns.

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Rosanna Arquette: ‘I fear the world will fall into the hands of fascist dictators – and white supremacy’

The actor and film-maker on being ghosted for her politics, the best kiss of her life and having an angel experience

Born in New York City, Rosanna Arquette, 61, starred with Madonna in the 1985 film Desperately Seeking Susan, for which she won a Bafta. Her other movies include Pulp Fiction and Crash. In 2002, she made Searching For Debra Winger, a documentary about women in the film industry; her podcast series is called Radical Musings. She is married, has a daughter and lives in Los Angeles.

When were you happiest?
I am trying to find a little happiness at least once a day, so this morning.

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‘Deaf is not a costume’: Marlee Matlin on surviving abuse and casting authentically

The only deaf actor to win an Academy Award discusses going to rehab, speaking out about William Hurt and starring in deaf drama Coda

When early financial backers of Marlee Matlin’s new film, Coda, expressed their preference for hiring big-name actors to play the roles of two major deaf characters – her onscreen husband and son – she threatened to quit. She told them that deaf actors should play characters written as deaf. “I said: time out. This is not right. It’s not authentic and it’s not going to work. If you go down that route, I’m out, because I don’t want to be part of that effort of faking deaf. I’m glad they listened.”

I can’t imagine anyone not listening to Matlin. Speaking from her home in Los Angeles, she is funny and warm, but there is something intense about her, almost intimidating. She sits straight-backed, her focus sharp. She is not a woman to mince her words – which are translated from American Sign Language (ASL) by her longtime interpreter and producing partner, Jack Jason, who is also on the call from his front room. The pair have been working together since 1985, just before she won the best actress Oscar at 21 for her first film role, playing a young deaf woman in the 1986 drama Children of a Lesser God – beating Sigourney Weaver (who was up for Aliens), Jane Fonda, Kathleen Turner and Sissy Spacek.

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Zola review – pulp-factual viral tweet becomes an icily slick urban thriller

Aziah ‘Zola’ Wells’s viral story of her crazily dangerous 2015 trip to Florida in search of pole-dancing money is brought to the screen with seductive comedy

In 2015, a part-time dancer from Detroit called Aziah “Zola” Wells went viral with a cheeky Twitter thread purporting to tell the pulp-factual tale of her recent, crazily dangerous road trip to Florida with someone called Jessica, whom she’d only just met. This woman had persuaded Zola there was big money in pole-dancing for rich clients in Tampa, but Zola had to share the car with Jessica’s creepy boyfriend and even creepier pimp, and soon it was clear that Zola was going to have to do much more than dance. She was in way over her head.

Or was she? Followers of Zola’s posts loved them at least partly for how outrageously unreliable they were: Zola was clearly embellishing, or pre-emptively giving her side of the story before Jessica did the same. Now this has been turned into a very entertaining lowlife crime comedy from director and co-writer Janicza Bravo, a film that preserves the fishy flavour of the online original – if perhaps only semi-intentionally – and has interesting things to say about the exhaustingly performative and self-promotional world of social media.

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