Jenni Olson: ‘I remember walking out of the movie theatre like, “Yeah, I’m a cowboy!”’

How did a little girl who loved Westerns grow up into an icon of queer cinema? As she wins a Teddy award, the filmmaker talks about a life devoted to the movies

When Jenni Olson accepts the Berlin film festival’s coveted Teddy award this month – for “embodying, living and creating queer culture” – she will join the ranks of past recipients including John Hurt, Joe Dallesandro and Tilda Swinton. “Me and Tilda, you know?” laughs the 58-year-old as she winces in the morning sunlight which is streaming into her home in Berkeley, California. With her youthful features, crisply side-parted hair and apostrophe-shaped eyes, she might have been drawn by Charles M Schulz.

“When I started my little gay film series at the University of Minnesota in 1987,” she says, “I never could’ve imagined that one of the largest film festivals in the world would recognise my work.” Along the way, she has been co-director of the San Francisco international lesbian and gay film festival as well as an influential curator, critic and archivist. She has taken her compilations of film trailers – including Homo Promo, Jodie Promo (Foster, that is) and the Jewish-themed Trailers Schmailers – to festivals around the world. Her vast collection of LGBT-themed film prints, along with the promotional materials that featured in her near-exhaustive collection The Queer Movie Poster Book, was acquired by Harvard last summer.

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Great strides: how Annie Hall’s ‘dad pants’ conquered the world

After a year of loungewear and dressing from the waist up, these tailored but informal trousers have won over everyone from Kendall Jenner to the Duchess of Cambridge

Scrolling through the Instagram page of model and Kardashian scion Kendall Jenner, one photo, posted on 28 April, stands out. In this one, she’s not on a Vogue cover or the deck of a yacht, but crossing a New York street. And instead of a bikini or cycling shorts and a crop top, she’s wearing a pair of tailored beige trousers, cinched with a black leather belt, pleated and full in the hip, loose of leg, teamed with a white T and an oversized shirt. It’s one part Diane Keaton in Annie Hall, one part Katharine Hepburn in The Philadelphia Story, one part Kennedy weekending at Martha’s Vineyard.

Two weeks later, Danielle Haim wore an identical pair of pale, full, elegantly tailored trousers on the red carpet at the Brits, just a few days after model and entrepreneur Rosie Huntington-Whiteley posed on her Instagram in the same. (Fashion sleuths point to the Igor Pant by The Row, for sale at a cool £860, as being the originator of this trend.) In the last week of May, Jennifer Lawrence was photographed in New York wearing creamy front-pleat trousers with a cropped white T-shirt on the same day that the Duchess of Cambridge, more usually a dress-wearer, wore a slightly darker pair to attend the opening of a new hospital in Kirkwall, Scotland. International travel might be virtually grounded, but there is no stopping the global spread of this look.

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The Viewing Booth review – seeing is believing in the Israel-Palestine conflict

Volunteers respond to politically polarised film footage from Israel and the Palestinian territories in this critical look at interpretation

Even though he tries to maintain a cool, scientific demeanour, Israeli director Ra’anan Alexandrowicz finally lets slip a twinge of despair at the end of this interesting geopolitical Rorschach test. Alexandrowicz sits studiously behind a monitor as he invites a succession of volunteers to enter an adjacent booth. There, they have a choice of 40 clips to watch, snippets of life in Israel, while he asks them to share their thoughts on what they see. Half of the clips are from rightwing Israeli sources; the other half are from B’Tselem, an Israeli human-rights organisation that aims to document abuses of power in Palestinian territories.

Alexandrowicz quickly zeroes in on the pensive Maia, a Jewish American who supports Israel, but brings an insistent scepticism to everything she watches. He is the director of pro-Palestine documentaries such as The Inner Tour (2001) and The Law in These Parts (2011) – and believes her to be his ideal audience: a possible convert.

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Ned Beatty: the good ol’ boy who made playing the ordinary guy look easy

From his breakthrough in Deliverance to a memorable turn in Toy Story 3, the authenticity of Beatty’s middleman gone bad made him the perfect co-star – and often stole the show

If ever a character actor personified the “good ol’ boy” archetype of Hollywood’s new cinema of the 1970s it was Ned Beatty from Louisville, Kentucky, whose broad, open, good-natured face seemed so often to be covered with a sheen of sweat – either from suppressed guilt, or tension, from discomfort in whatever sweltering southern clime he happened to find himself. His was a smiley face bounded by its prosperous double-chin and nascent combover, a face that lent reality and approachability to the movies: an authentic and worldly presence.

Ned Beatty had the hardest role to play: the middle-ranking ordinary guy: lawyer, cop, official, politician and maybe, effectively, the wingman to the conventionally better-looking male leads, and in his 70s movie heyday this tended to mean Burt Reynolds, with whom he starred in six films, including, of course, Beatty’s brilliant and brutal breakthrough: Deliverance (1972), written by James Dickey and directed by John Boorman, in which Reynolds’s sinister alpha male businessman leads his buddies Beatty, Jon Voight and Ronny Cox on a vacation canoeing trip through the deepest Georgia wilderness only to come into horrible contact with hillbillies playing banjos and bearing grudges.

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How did a £120 painting become a £320m Leonardo … then vanish?

A film about the disputed Salvator Mundi blames the National Gallery for its role in giving credibility to the claim that it was the artist’s lost work

The National Gallery is facing controversy over its role in the tangled story of how the world’s most expensive painting emerged from obscurity before being sold for a staggering £320m, only to vanish again from the public eye.

The gallery exhibited the Salvator Mundi in its Leonardo da Vinci exhibition a decade ago when it was an unknown work with doubts about its attribution, restoration and ownership.

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Finding fangs: new film exposes illicit trade killing off Bolivia’s iconic jaguar

Undercover documentary investigates the trafficking of Latin America’s big cat to meet demand in China

Elizabeth Unger was a 25-year-old biology graduate working as a PhD research assistant for big cat and climate projects in Latin America when she heard about the Bolivian authorities intercepting dozens of packages containing jaguar fangs sent by Chinese citizens to addresses in China.

“I was really blown away as [the story] was completely under the radar,” she says. Six years later, she is making her directorial debut with a film about the trade, which is contributing to a decline in the population of Latin America’s iconic big cat.

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Hong Kong film censors get wider ‘national security’ powers

Observers worry rule change in Chinese city will restrict pro-democracy movement even further

Hong Kong’s censors have been given expanded powers to vet films for national security breaches in the latest blow to the Chinese city’s political and artistic freedoms.

In a statement on Friday, authorities said the film censorship ordinance had been expanded to include “any act or activity which may amount to an offence endangering national security”.

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‘Father of African cinema’ Ousmane Sembène at work – in pictures

A look back at the career of Senegal-born film director Ousmane Sembène as his 1968 film Mandabi is released in the UK for the first time

•Mandabi is released on 11 June in cinemas, and on 28 June on DVD, Blu-Ray and digital platforms.

•Peter Bradshaw on Mandabi: classic about colonialism resonates today

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Bennifer’s rebooted! Why is Ben Affleck and Jennifer Lopez’s reunion so cheering?

They were a tabloid dream, the super-cool fly girl and the eyeliner-wearing Caped Crusader. Now, 17 years on, Ben and Jen are together again. But what do the ultimate 00s couple mean to the TikTok age?

Brangelina. Kimye. Tomkat. Gyllenspoon. Each pairing is yet another note in the long, sad dirge of failed Hollywood romances. Blending famous monikers has been a showbiz tradition for decades, even if most of these fusions fizzle out quicker than you can say “Vaughniston” (you remember: Vince Vaughn dated Jennifer Aniston for about a minute after her breakup with Brad Pitt). But back in the early 2000s, there was one couple whose tumultuous affair and melded nickname towered above the rest, all but consuming the tabloid press for three whole years, until their abrupt, dramatic breakup just days before their planned wedding. And now, 17 years later, in a plot twist worthy of a Nancy Meyers romcom, those same not-so-young-any-more lovers have shocked the world and delighted the media by getting back together.

That’s right: like the cicadas, Bennifer has risen anew. The details of the Ben Affleck-Jennifer Lopez reunion are still a bit sketchy. There was a New York Post item in April reporting that the two had been observed entering the restaurant at the Pendry hotel in West Hollywood with “arms wrapped around each other”. A few days later, Affleck was spotted making an early-morning departure from Lopez’s LA home (“with a smirk” on his face, the Page Six article noted). A month after that, multiple outlets broke the news that the couple had spent a weekend at a resort in Montana. Then celebrity mag Us Weekly made it semi-official with a quote from an anonymous source: “Jen and Ben are both very happy with each [other] and excited to see where the relationship goes.”

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Power dressing: which superhero has the best costume?

From Superman’s Y-fronts to Hulk’s tattered shorts, superheroes have made their fair share of fashion faux pas – but whose outfit actually works?

In the Guide’s weekly Solved! column, we look into a crucial pop-culture question you’ve been burning to know the answer to – and settle it, once and for all

When saving the planet, it’s important to dress the part. This isn’t like taking the bins out. You can’t hang off a chopper in a slanket and Crocs. Superheroes understand this. Unlike James Bond – who is permanently tuxed up as if he’s about to host a pharmaceutical industry awards bash – the offspring of Marvel and DC Comics have brought spandex, codpieces and vulcanised rubber out of the niche-interest sex-toy trade and into the multiplex. But which superhero has the best costume?

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Bob Odenkirk: ‘Soon people won’t remember Breaking Bad’

He charmed as slimeball lawyer Saul in the drugs drama and its spinoff – but now Bob Odenkirk has gone badass in action thriller Nobody. Has he left his comedy days behind?

On the surface, Bob Odenkirk’s new film is entirely preposterous. As the story of a man who goes on a murder spree after his house is broken into, Nobody is an all-out, full-throated action movie. In one scene, 58-year-old Odenkirk tears a handrail off the inside of a bus and beats a man senseless with it.

However, as he explains, the story stems from something much more personal. “My family had two break-ins,” he reveals from his home in LA, where he’s sitting beneath a vast Chinatown poster. “It was very damaging.”

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How Tove Jansson’s love of nature shaped the world of the Moomins

The Finnish artist’s work was hugely influenced by her passion for the great outdoors – in particular the tiny island of Klovharun

In 1964, when she was in her 50s, the Moomin creator Tove Jansson settled on her dream island. Klovharun in the Finnish archipelago is tiny – some 6,000 sq metres – and isolated, “a rock in the middle of nowhere”, according to Jansson’s niece, Sophia. It has scarcely any foliage, no running water and no electricity. Yet for Jansson, it was an oasis. For 18 years she and her partner Tuulikki Pietilä spent long summers there, heading out from Helsinki as soon as the ice broke in April, leaving only in early October. The island meant “privacy, remoteness, intimacy, a rounded whole without bridges or fences”.

Klovharun encapsulates something of Jansson’s originality as an artist and writer – and her human presence. Her illustrated Moomin books, which began to be published just after the second world war, brought her phenomenal acclaim and devotion. The tales of amiable troll creatures have been taken to generations of hippy hearts; their pear-shaped faces have adorned a million ties. Their marketing triumph – in which Jansson enthusiastically participated – has overshadowed her other achievements as a painter, novelist, short-story writer, anti-Nazi cartoonist, and designer of magazine covers. Success may also have obscured how ambivalent she was, how often on the cusp of identities. She was brought up in Finland speaking Swedish, had male and female lovers, told her stories in pictures and in prose, lived on water as well as land. More and more she appears as a pioneer. Not least in her crystalline descriptions of the natural world.

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After Love director Aleem Khan: ‘I walked around Mecca and prayed not to be gay’

The director’s debut feature draws on his experiences of loss and identity confusion, with a memorable role for Joanna Scanlon as a fictionalised version of his white English Muslim-convert mother

Mary, the central character of Aleem Khan’s debut film After Love, is a white English woman who met her Pakistani husband as a teenager on the London housing estate where they both lived. After they got married, they moved to the Kent coast. Mary converted to Islam, started to wear traditional dress, learned how to cook curries from scratch and to speak Punjabi.

It does not take an enormous amount of detective work to understand from where Khan drew inspiration: his mother is a white English woman who met her Pakistani husband as a teenager on the London housing estate where they both lived. After they got married, they moved to the Kent coast; she converted to Islam, started to wear traditional dress, learnt how to cook curries from scratch and to speak Punjabi.

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Tom Cruise’s Mission: Impossible 7 production temporarily shut down due to coronavirus case

Paramount Pictures pauses filming after a routine test confirms positive Covid case on set

Paramount Pictures has temporarily shut down production on the British set of Tom Cruise’s seventh Mission: Impossible film after someone tested positive for coronavirus.

“We have temporarily halted production on Mission: Impossible 7 until June 14th, due to positive coronavirus test results during routine testing,” a Paramount spokesperson said on Thursday. “We are following all safety protocols and will continue to monitor the situation.”

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Manfred Kirchheimer, the greatest documentary maker you’ve probably never heard of

The 90-year-old German American director, who completed a trio of documentaries during lockdown, reflects on his career, his black activism and asking his father difficult questions about Nazi occupation

Manfred Kirchheimer, the US’s least-known great documentarian, may be 90 years old, but his memory is as sharp as a knife. “I wasn’t always a film aficionado,” he recalls. “Then, in 1949, I was at Manhattan’s City College and the students were on strike against two professors – one antisemite, the other anti-black. I saw someone filming a police horse and I asked him why. He said: ‘I’m making this for the film department.’ I had signed up for chemistry, but I didn’t like chemistry. So I went to the office of its head – the film-maker Hans Richter – and I said, ‘Professor, are there any opportunities in film?’ He said, ‘Yes – opportunities are plenty. But no jobs!’ I went anyway.” He chuckles fondly.

Kirchheimer was born in 1931 in Saarbrücken, Germany. His Jewish parents, sensing which way the winds were blowing, moved to the US five years later, eventually landing in New York’s Washington Heights, where they joined a close-knit and prosperous community peopled by so many exiles it was sometimes known as Frankfurt-on-the Hudson. Kirchheimer might have stopped practising the faith in his early 20s, but across the decades, his films all benefit – rely, even – on his migrant eye. They’re endlessly curious about how his adopted city works, searching for its often-overlooked architectural or environmental details, alive to its marginal voices.

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The Beatles in India: ‘With their long hair and jokes, they blew our minds!’

Two new documentaries offer intriguing insights on how the Beatles’ 1967 escape to study transcendental meditation shaped the band and India, baffled the KGB – and saw Ringo survive on a diet of baked beans

In 1968, Paul Saltzman was a lost soul. The son of a Canadian TV weatherman, he was working as a sound engineer for the National Film Board of Canada in India when he received a “Dear John” letter from the woman he thought was going to be his wife. “I was devastated,” he says. “Then someone on the crew said: ‘Have you tried meditation for the heartbreak?’”

Saltzman went to see the Maharishi Mahesh Yogi – the founder of transcendental meditation – speak at New Delhi University. Emboldened by promises of “inner rejuvenation”, Saltzman then travelled to the International Academy of Meditation in Rishikesh. It was closed, due to the arrival of the Beatles.

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Samuel L Jackson’s 20 best films – ranked!

Soon to be seen in The Hitman’s Wife’s Bodyguard, the actor has a CV taking in dancing losers, choric narrators, a Bible-misquoting killer – and Marvel’s coolest middleman

Samuel L Jackson is the elegantly besuited, cane-twirling, fourth-wall-breaking narrator in Spike Lee’s Chi-Raq (pronounced “shy-rack”), set in the city of Chicago, where the homicide rate has exceeded the US death toll in Iraq. It is a twist on Aristophanes’s Lysistrata, about one woman’s mission to end the Peloponnesian war with a sex strike. Teyonah Parris plays Lysistrata, the girlfriend of a gangbanger. She reaches out to the wives and partners of their enemies with a similar idea – and the chant: “No peace, no pussy!” Jackson is the dapper, impish Dolmedes, whose rhyming couplets bring us into the story.

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‘They had soul’: Anton Corbijn on 40 years shooting Depeche Mode

He thought they were pop lightweights – then turned them into moody megastars. The photographer recalls his adventures with the band, from desert trips to drug-induced near-death experiences

By his own cheerful admission, Anton Corbijn’s relationship with Depeche Mode did not get off to a flying start. It was 1981 and Corbijn was the NME’s new star photographer, having previously been lured to the UK from his native Netherlands by the sound of British post-punk, particularly Joy Division. His black and white portraits became iconic images of that band’s brief career, and Corbijn had gone on to take equally celebrated shots of everyone from Captain Beefheart to David Bowie.

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‘My parents still have no clue what I’m doing’: Lupin star Omar Sy on Hollywood, fame and fighting racism

After a decade in Hollywood, French actor Omar Sy returned home to star in Netflix’s much-loved hit, Lupin. He talks about playing the charming thief, growing up with Arsenal’s Nicolas Anelka and his battle with racism

Actors, obliged to exhaustively market their wares, will pose for hours in front of posters of their latest film or TV show. They’ll hop between city premieres, sit on dreary festival panels, tell rehearsed comic stories on night-time talkshows, then get up early to be on breakfast radio. Before meeting Omar Sy, a 43-year-old Frenchman who stars in the massively popular Netflix drama Lupin, I’d never heard of an actor picking up a bucket and brush to spend a day gluing up their own billboard posters on the Paris metro. Sy, who is 6ft 2in, born in a working-class Parisian suburb to West African parents, explains the thinking behind this unusual marketing stunt that took place just before the first series of Lupin debuted earlier this year.

“A lot of people know me in Paris,” begins Sy, who worked as a comedian in France through his 20s before becoming a film star there in his early 30s. “Because people in France have watched me in stuff for years, I’m used to meeting strangers who recognise me and who already have smiles on their faces.” In Lupin, lightly adapted from the classic heist books by Maurice Leblanc, Sy plays a French-Senegalese man called Assane Diop, an anonymous Parisian who is used to being ignored and overlooked in his home town, but who is willing to use that to his advantage while robbing the city’s jet-set blind. “The show is entertainment and we want to have fun with it,” he says, “but at the same time we’re talking about something very serious: that some people in France are simply not seen.”

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I Am Samuel: the film aiming to ‘change the narrative’ on being gay in Kenya

The young star of Peter Murimi’s intimate documentary is as poor, religious and conservative as his peers – and fearful of a violent backlash, he says

Samuel Asilikwa grew up in rural Kenya. There was a strict template for masculinity, informed by centuries of tradition – and intolerance. In a new documentary about his life, we see his father, a pastor, question Asilikwa about why he is yet to find a wife. We then watch as he relocates to Nairobi in search of work and adventure. He finds community, friendship and intense romance with a man called Alex.

Peter Murimi’s film I Am Samuel, shot verité-style over the course of five years, is at its most powerful contrasting city and countryside. Kenya’s farmland, clay roads, shrubbery and corn fields are evidence of a still, yet cyclical, pattern of life compared with the infinite noise and claustrophobia of Nairobi. But it is also a film about a shifting political landscape, where “carnal knowledge against the order of nature” is punishable by 14 years’ imprisonment.

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