Cielo review – love letter to the desert’s starry skies

Alison McAlpine’s documentary draws out tales from locals and astronomers to evoke the magic and mystery of Chile’s stargazing hotspot

Cielo means “sky” in Spanish, and “heaven”, too. And it’s with a sense of humbled wonder at the immense mystery of it all that the Canadian film-maker Alison McAlpine casts her camera upwards in this beautiful documentary about the night sky. It’s filmed at the stargazing hotspot of Chile’s Atacama desert, where there is virtually no light pollution; the heavens appear to be within touching distance – as if a seam in the sky has been unpicked and the stars tumble out like diamonds.

For those of us who live in urban areas, we look up from noisy streets and bright city lights to the vast emptiness of the sky. In Atacama, it’s the reverse; the sky seems more alive than the earth – a bare, Martian landscape of rock and sand. With her cinematographer, Benjamín Echazarreta, McAlpine shoots some astonishing time-lapse photography, which features alongside interviews with astronomers at the European observatories in the desert and locals who eke out a living somehow. One man is a UFO photographer; he thinks that humans are more evil than the aliens and, knowing this, the aliens don’t bother to land.

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Sofia review – Moroccan society through the eyes of an unwed mother

Meryem Benm’Barek’s smart debut lays bare the scandalous consequences for a Casablanca woman who finds herself single and pregnant

In Morocco, sex outside marriage is punishable by up to 12 months in prison. But when unmarried Sofia gives birth, in this debut feature from Meryem Benm’Barek, her family’s biggest fear is not her going to jail, it’s preserving their honour. The film is straightforward, a blunt social-realist drama. (Sofia goes into labour at a kitchen sink, while washing up.) Only at the end does it dawn on you how carefully the story is plotted: something happens that recasts everything that has gone before – and, if anything, makes the story even more grim.

Maha Alemi stars as 20-year-old Sofia, who doesn’t know that she is pregnant until her waters break during a family party in Casablanca. It’s never clear whether Sofia, who didn’t gain much weight, was completely unaware of the pregnancy; perhaps she suspected it but had blocked it out. Her face is mostly blank, and she walks through the film numbed and zombie-like. After the birth, her family is disgusted – and terrified that a scandal will blow her dad’s business deal with wealthy entrepreneur named Ahmed. (Ahmed is played by Mohamed Bousbaa. Like a bit character in a murder mystery, watch him – he’ll be important later.)

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‘An explosive energy’: Sam Mendes pays tribute to Helen McCrory

Whether acting in Chekhov on stage or a Bond film, the star – who has died aged 52 – was incredibly exciting to watch, remembers the Skyfall director

Most actors are liked by those they work with. A few are loved. With Helen it was unquestionably the latter. People would light up at the mention of her name. I was one of those people.

When I was directing Uncle Vanya and Twelfth Night as my final productions as artistic director of the Donmar in 2002, I asked Helen to play the role of Sonya in Uncle Vanya. Word came back that she would love to have a chat about it. She strode into my office, sat on the sofa and immediately told me I had it all wrong. She told me she should be playing Yelena – the other young female role – and then proceeded to spend the next hour telling me exactly why. She left the room with the part. This has never happened to me before or since. All I can say by way of explanation is that it just felt inevitable. She was clearly already half way to giving a superb performance, I simply had to get out of the way and let her complete the job. Which, of course, she did – with utter brilliance.

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Helen McCrory remembered: ‘She had a brightness about her. She was a star’

Richard Eyre, the National Theatre director who cast the actor in some of her earliest roles, pays tribute to her after her death

Part of the tragedy of Helen McCrory dying at such a young age, leaving a husband and two young children, is that professionally she had everything to look forward to. She had established herself as a very considerable actor in the theatre and on film and television.

She had a brightness about her, a luminosity: she was, in short, a star. She lit up a stage or a screen – you knew you were in the presence of a force of character and talent.

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Harry Connick Jr: ‘I love learning about women’

The singer, 53, on Mardi Gras parades, When Harry Met Sally, feeling thankful each day and the females in his family

I’d be completely different if I hadn’t grown up in New Orleans – there was music everywhere. So much of it was live. You could walk down a street at any time of the day or night and there would be people making music: a tuba player, horn players, bass drum players. And there would be brass bands and people dancing. All this was normal to me, and it wasn’t until I left that I realised how fortunate I’d been to be surrounded by this incredible diversity of live music. You feel its energy in the air.

Both my parents were lawyers. My father was the district attorney of New Orleans and my mother was a judge, so they were both in public service. From them I got ideas about trying to be vocal about change. The first thing I did, in 1993, was to start a Mardi Gras parade inclusive of everyone – men, women, black, white – because I thought people should be able to celebrate together. The parade is called Krewe of Orpheus. Today it’s the biggest, most beautiful parade in the whole of the New Orleans Mardi Gras.

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Helen McCrory, star of Peaky Blinders and Harry Potter, dies aged 52

Actor was also known for her roles in the films The Queen and The Special Relationship

The actor Helen McCrory has died at the age of 52. McCrory was best known for her roles in the films The Queen and The Special Relationship and the Harry Potter franchise, and TV series including Peaky Blinders.

Her husband, fellow actor Damian Lewis, announced her death on Twitter, saying that McCrory had died “peacefully at home”. Lewis said: “I’m heartbroken to announce that after an heroic battle with cancer, the beautiful and mighty woman that is Helen McCrory has died … surrounded by a wave of love from friends and family.”

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‘He’s telling a story of his time’: how Bill Traylor, born into slavery, became an art titan

Referred to as ‘the greatest artist you’ve never heard of’, Bill Traylor’s compelling life is put under the spotlight in a new documentary

Bill Traylor had already lived a full life before he was born as an artist. Enslaved at birth on an Alabama cotton plantation in 1853 and having spent his entire life as a farmer within a 40-mile radius of Montgomery, it was only in his late 80s that he, homeless and alone, parked himself by a bustling intersection in the state capitol’s segregated black neighborhood and began to draw and paint.

Related: In the Absence of Light: celebrating the history of black artists in America

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‘Short, fat, ugly’: Gucci family lashes out at cast appearance in new film

Ridley Scott biopic tells story of Patrizia Reggiani’s doomed marriage to Maurizio Gucci

The Gucci family has hit out against the “horrible, horrible” and “ugly” casting of the House of Gucci film, starring Lady Gaga and Adam Driver.

The film, which is now in production and directed by Sir Ridley Scott, tells the story of Patrizia Reggiani and her doomed marriage to Maurizio Gucci. Reggiani was convicted of his assassination in 1998 after hiring a hitman to kill him.

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Sitting in a tin can: why sci-fi films are finally telling astronaut life like it is

New Netflix drama Stowaway is the latest in a crop of movies that suggests space travel is more random death and boredom than warp speed nine

Anybody who fancies watching a new science fiction film this month can count their lucky stars. A Netflix drama, Stowaway, features Anna Kendrick, Toni Collette and Daniel Dae Kim as a trio of astronauts who are on their way to Mars when they discover that an unfortunate launch-plan engineer, Shamier Anderson, is still onboard. The trouble is, there is only enough oxygen for three of them. American viewers can also see Voyagers (due for release in Britain in July), in which 30 hormonal starship passengers are preparing to colonise another world. The trouble is, something goes wrong on their mission, too, and the trip turns into an interplanetary Lord of the Flies. The moral of both stories is that you should probably push “astronaut” a few slots down your list of dream jobs. But if you’ve caught any other science fiction films recently, it’s bound to be quite far down the list, anyway.

Again and again over the past decade, cinema has warned us that venturing beyond the Earth’s atmosphere is uncomfortable, dangerous, exhaustingly difficult, frequently tedious, and almost certain to involve interplanetary angst and asphyxiation. George Clooney’s morose The Midnight Sky rounded off 2020 with a fatal spacewalk. Aniara and Passengers posited that existence on a colony ship was a lot grimmer than Wall-E had led us to believe. The “sad dads in space” sub-genre coalesced with Brad Pitt’s Freudian moping in Ad Astra, and Robert Pattinson’s in High Life. No wonder today’s youngsters would rather be YouTubers or influencers than astronauts. The overriding thesis of current science fiction films is this: space travel is rubbish.

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No man’s land: in crowning Chloé Zhao and Emerald Fennell, Bafta has triumphed

An immaculate set of choices this year were capped by best film for Nomadland and best British film for Promising Young Woman – with Anthony Hopkins’ honour the cherry on top

This year’s Bafta list has confirmed the amazingly meteoric career ascendancy of Chloé Zhao, the Chinese-born film-maker whose debut movie was just six years ago and who was unknown outside arthouse-connoisseur circles until relatively recently; she now is set to rule awards season with a remarkable film displaying her now fully developed authorial signature.

Related: Baftas 2021: Nomadland wins big as Anthony Hopkins and Promising Young Woman surprise

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Baftas 2021: Britain’s big film awards night – live!

All the action as Bafta goes virtual for its star-studded awards ceremony and the industry’s best-known names wait with bated breath

Here’s our round-up of tonight awards, for people who accidentally clicked onto a liveblog when they just wanted to know what happened.

Here’s some analysis: the music that the Baftas used to soundtrack that 12-minute summary at the end of the show was exactly the same music that the BBC used in the Repair Shop advert that directly followed it. Wait, that’s not analysis. That’s just an observation. Sorry.

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Maria Bakalova: ‘I dedicate every award to all the eastern European actors’

The Oscar-nominated Bulgarian star of Borat Subsequent Moviefilm on the weirdness of shooting to fame during a pandemic

Bulgarian actor Maria Bakalova broke through last year as Sacha Baron Cohen’s co-star in Borat Subsequent Moviefilm. She has won more than 20 awards for the performance, including best supporting actress at the Critics’ Choice awards last month, and has been nominated for a Golden Globe, a Bafta and an Academy Award.

This year, we have all put more effort into getting dressed from the waist up for the benefit of a work Zoom call. Actor Maria Bakalova has been doing the same, only in her case she has been getting fully dressed and made-up for red-carpet events, while wearing slippers and pyjamas just off-screen. “The past 12 months have been really crazy,” she says over the phone now. “Probably it’s a little bit different from the normal way of becoming famous. It’s been… interesting!”

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Louis Theroux: ‘I worry about not coming up to scratch’

He made a film on Joe Exotic a decade before Tiger King, lulls interviewees into personal revelations – and can rock a leather suit. So why is he so anxious?

“There’s no getting away from the fact that, even aged 50, I’m a slightly awkward person, a fearful person, worry-prone,” says Louis Theroux, wriggling in his seat. The film-maker picks up and puts down a coffee without drinking. He wears all blue: navy sweater, stock denim, one of those indestructible plastic Casio watches on his wrist. “I worry about what people think,” Theroux continues, “I worry about giving offence, being judged, not coming up to scratch, being thin-skinned.”

We are in the corner of a photography studio in London, sheltering from rain on a Friday afternoon. The room has long emptied of people, but, even so, as Theroux chats, he snatches quick glances over his right shoulder, as if expecting to find somebody or something lurking there. “Everyone has things that preoccupy them, right?” he says. “I just tend to think, on a spectrum of people in general, I definitely skew, uh, anxious.”

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DMX obituary

Rap star and actor who embodied the edgy and lawless life depicted in his work

The first rapper to have his first five albums go straight to the top of the US chart, DMX, who has died aged 50 following a heart attack, established himself as the premier exponent of hardcore rap in the aftermath of the violent deaths of the Notorious BIG and Tupac Shakur. He announced himself with his multi-platinum-selling debut album It’s Dark and Hell Is Hot (1998), a stormy survey of greed, violence, crime and betrayal, which also displayed his gift for blending light and heavy textures behind an intense, menacing presence at the microphone.

Before the end of that year DMX had released his second blockbuster, Flesh of My Flesh, Blood of My Blood, another huge seller. He was suddenly the new king of Planet Rap, yet when the 1999 Grammy award nominations came around he was nowhere to be seen. This omission prompted the rap superstar Jay-Z (who would win the best rap album Grammy that year) to boycott the awards ceremony “because too many major rap artists continue to be overlooked”, as he put it. “Rappers deserve more attention from the Grammy committee and from the whole world.”

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The Howling at 40: a horror movie that gave us something to chew on

Joe Dante’s sly and smart breakout, about a reporter uncovering a colony of werewolves, was a fun ride that had space for satire

“I saw the best minds of my generation destroyed by madness, starving hysterical naked …”

So begins Allen Ginsberg’s radical poem Howl, which upon close study has absolutely nothing to do with werewolves. And yet it appears on a reporter’s desk in Joe Dante’s horror classic The Howling, one among many blink-or-you’ll-miss it visual jokes that Dante tucks into the movie, like a small-town sheriff scarfing down a can of Wolf-brand chili or an old Little Boy Blue cartoon featuring the Big Bad Wolf that’s airing on TV. His best films are loaded with such peripheral delights, which have the feel of inside jokes, but mostly point to the movie-crazy spirit of a Dante production. The more movies you’ve seen, the more you tend to love Joe Dante.

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‘It’s an utter myth’: how Nomadland exposes the cult of the western

From cowboys to ‘van-dwellers’, itinerant Americans are often portrayed as heroic lone wolves. Chloé Zhao’s film shows that the truth is more complicated and less glamorous

It has been a wild ride for Nomadland, Chloé Zhao’s roving portrait of the US’s rootless modern migrants. Shot for $5m and largely featuring amateur actors, it is the little movie that could: this year’s rags-to-riches story, beloved by the critics and odds-setters alike. The road has been cleared, the gold rush is on, but the Hollywood happy ending feels at odds with the film. As Nomadland steers its westerly course – from the Baftas in London to the Oscars in Los Angeles – it is living a dream that it knows is a lie.

Condé Nast Traveler called it “a love letter to America’s wide open spaces”, which is true up to a point, but this ignores the pathos, poverty and desperation at its core. Adapted from Jessica Bruder’s nonfiction bestseller, the film bounces Frances McDormand’s hard-bitten loner through a modern American badland in which the saloon and the sheriff’s office have been replaced by the RV park and the Amazon warehouse. I would file the film as an anti-western, a wholesale repudiation of manifest destiny, the pursuit of happiness, all the Hollywood snake oil we have long been fed. “Yeah, OK,” Bruder says. “But it’s more complicated than that.” Frustratingly, I think she may be right.

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Anthony Hopkins’ 20 best film performances – ranked!

Anthony Hopkins has been nominated for a Bafta and an Oscar for his role in The Father. But how does it compare with his performances as Hannibal Lecter, CS Lewis, Odin and an ageing Zorro?

Over the years, Anthony Hopkins acquired the sort of gravitas that allowed him to slot effortlessly into his stint in the Marvel special effects salt mines, nowadays a rite-of-passage for every actor. And he is perfectly cast as Odin, the one-eyed ruler of Asgard, legendary know-it-all and, in the MCU at least, the father of Hela, Thor and Loki. “I’m a little like Odin myself,” Hopkins said in an interview.

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Night in Paradise review – operatic Korean display of gunfire and death

This blood-splattered gangster flick with a romantic subplot follows Tae-Gu as he hides out from his enemies

This gleefully blood-splattered Korean gangster film with an unlikely romantic subplot looks for most of its running time like the sort of cult-friendly genre discovery one could watch and then crow over before an inevitable Hollywood remake comes out. That said, the ending is so relentlessly bleak that a faithful remake would be unlikely – while an unfaithful one with a happier conclusion would be absurd given the ruthless logic of writer-director Park Hoon-jung’s plotting.

The initiating setup is that after something really bad happens, moody pretty-boy gangster Tae-Gu (Eom Tae-goo) must hide out on a resort island in off-season before he is ultimately resettled in Vladivostok, Russia. En route he stays with a grumpy arms dealer, a former gangster himself, and that man’s troubled, taciturn niece Jae-Yeon (Jeon Yeo-been). But it soon transpires that there’s hidden depths in both Jae-Yeon and Tae-Gu, who after the de rigueur initial verbal sparring become unlikely friends – and maybe potential soul mates, especially when they end up bonding over their shared affection for mulhoe, a spicy raw fish soup which plays a significant role in the story. In fact, there are a lot of meals throughout, discussions of who is hungry and a key plot-furthering sit-down among gangsters in a restaurant that involves one of those huge rotating trivets typical of Korean restaurants so that people can share dishes more easily.

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Elizabeth Perkins on luck, sexism and Big’s love scene: ‘It would not be acceptable today’

The star of hit films in the 80s and 90s has since moved into TV. She discusses life with 10 siblings, #MeToo and why she couldn’t ask for a better life

Veering from horror to joy and back again, Elizabeth Perkins is contemplating what it would be like if her adult children moved back home. “The thing is, you miss them so much, then they’ll come back for a holiday and within a week there’s dirty dishes everywhere, there’s wet towels on the floor, they’ve eaten all the food. After a couple of weeks, you’re like: ‘Will they ever leave?’”

This is the timely theme of Perkins’ show The Moodys, the first season of which, in 2019, saw three grownup children return home to Chicago for Christmas. Perkins plays Ann Moody, their mother; Denis Leary plays her husband. In the new season, all three children are living at the family home, with predictably messy consequences. “It really explored that dichotomy of: you love them to death, but, man, they get on your nerves,” says Perkins.

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‘Film-making? Bring it on!’: ex-stockbroker Farah Nabulsi on her Oscar nomination

The British Palestinian is up for an Oscar with her debut, filmed at a notorious Israeli flashpoint called Checkpoint 300. The London-based director talks about her shocking visits to the Middle East

Farah Nabulsi was at home in west London when she found out her film The Present had been nominated for the Oscar for best live action short. She’d persuaded her teenage sons to stay home and watch the announcement. When she heard her name, she jumped up on the table. Her eldest looked at her as if she’d gone mad. He’d got it into his head that this was the actual ceremony and she had lost. “He was like, ‘Why are you so happy? They didn’t pick you.’ He killed the moment.”

The film is Nabulsi’s directing debut, a powerful 20-minute piece of humanist cinema about a Palestinian man, Yusef (Saleh Bakri), who wants to surprise his wife with a fridge as an anniversary gift. He takes the couple’s young daughter, Yasmine (Mariam Kanj), shopping. But their big day out is ruined by two encounters with Israeli soldiers at a checkpoint. Yasmine is a witness to her dad’s humiliation – she tugs on his sleeve, reminding him to bite his tongue, to swallow the soldiers’ insults. It is a study of injustice that – like the best shorts – doesn’t try to cram too much in.

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