On my radar: Monique Roffey’s cultural highlights

The Costa-winning author on enjoying Sade with a glass of wine, Line of Duty and why the Caribbean’s female writers need to be heard

Monique Roffey is an award-winning writer born in Trinidad in 1965 whose novels include The White Woman on a Green Bicycle and House of Ashes, which were shortlisted, respectively, for the Orange and the Costa prizes. She is also a senior lecturer at Manchester Writing School. Her sixth novel, The Mermaid of Black Conch, won the Costa book of the year and is shortlisted for the 2021 Rathbones Folio prize, announced on 24 March.

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‘It’s wild!’ Carey Mulligan and Emerald Fennell on making Oscars history

Promising Young Woman’s five nods include the first for a female British director. Its star and writer-director discuss telling women’s stories, tackling difficult subjects – and feeling shellshocked

Promising Young Woman is audacious from the off. A genre-bending revenge thriller, it ricochets between romcom and horror to radical and unsettling effect. Carey Mulligan plays Cassie, a medical school drop-out traumatised by the assault of her best friend. By day, she works in a coffee shop; by night, she fakes blackout drunkenness in bars. If “nice guys” take advantage, Cassie snaps open her sober eyes to teach them a lesson.

The film made history this week, landing five Oscars nominations: picture, editing and actress (Mulligan’s second run at the award), as well as original screenplay and director for Emerald Fennell. With her debut feature, Fennell has become the first British woman to be nominated for the director prize. This is the first year in which two women (Fennell and Nomadland’s Chloe Zhou) are in the running; they are only the sixth and seventh women to be shortlisted.

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Oscars 2021 ceremony will be in-person and Zoom-free, producers say

Academy Awards producers have insisted video-link will ‘not be an option’ for attendees in the wake of ratings slumps for other recent major awards shows

The Oscars ceremony in April will be an intimate, in-person gathering, held without Zoom and limited to nominees, presenters and their guests, the producers said on Thursday.

Due to the coronavirus pandemic, events to hand out the highest honours in the film industry will held at both the Union Station in downtown Los Angeles and the traditional home of the Academy Awards at the Dolby Theatre in Hollywood.

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Actor Armie Hammer under investigation for 2017 sexual assault allegation

The accuser, known as Effie, was 20 at the time and claims she briefly dated the Call Me by Your Name star while he was married

The actor Armie Hammer is under investigation for sexual assault, Los Angeles police said Thursday.

Hammer is the main suspect in a sexual assault that was reported to police on 3 February, an LAPD spokesperson said. Police did not give further details.

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‘Two boys snogging was revolutionary’: the greatest gay moments in cinema

From Gus Van Sant to Maryam Keshavarz, Terence Davies to Andrew Haigh, film-makers and writers recall the charged scenes that moved and inspired them – and even helped nudge them out of the closet

Gus Van Sant, director of My Own Private Idaho, Good Will Hunting, To Die For, Milk

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Demi Lovato says she was raped as a teenager by someone she knew

In a new docuseries, the singer says she was assaulted as a teen and after telling somebody, the rapist ‘never got taken out of the movie they were in’

Demi Lovato has said she was raped as a teenager while working for the Disney Channel in the late 2000s by someone who faced no repercussions when she revealed what happened. The singer does not say who the offender was, only that she “had to see this person all the time” afterwards.

Related: Demi Lovato says she had three strokes and heart attack after 2018 overdose

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Nest of Vampires review – a bloodless bid for the title of worst film ever

This horror story about an MI5 agent and a gang supplying girls for ritual sacrifice is on a par with the monumentally terrible Plan 9 from Outer Space

There are bad movies, the kind of third-rate film-making we see all the time, and then there are transcendentally bad movies that can only result from deep, fanatical attachment to the material. Director, writer and producer Chris Sanders here achieves something on a par with Ed Wood’s Plan 9 from Outer Space or Tommy Wiseau’s The Room. His Nest of Vampires is a little-England horror-thriller with a plot as over-larded as an Elvis sandwich, uniformly appalling acting, and the same almost beatific earnestness as those two legendary films.

MI5 agent Kit Valentine (Tom Fairfoot) leaves his London stamping ground to shake down some unnamed English town for a human trafficking ring that – after his wife is murdered – has abducted his daughter. He needs to get a move on, because the network sells off the girls to moneyed clients to butcher in satanic rituals. Not racy enough? Some of the criminals are also vampires who like a “nibble” on the customers. And Valentine is further up against it when his bosses reveal they are in cahoots. Tied to a chair, though, he has news for them: “You’re not the only secret society that operates within MI5.” Then his own canines turn extra-pointy.

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Allen v Farrow review – a one-note pick over the bones of old investigations

The HBO series arrives on Sky in the UK, but fails to dig deep and do more than regurgitate Mia and Dylan Farrow’s allegations against Woody Allen

Eight months after his relationship with not-quite-stepdaughter Soon-Yi was revealed in 1992, Woody Allen was accused of sexually abusing Dylan Farrow, his younger daughter with his partner Mia Farrow, when she was seven. Allen strongly denied all the allegations, as he has continued to do over the nearly 30 years since. But they fell on fertile soil. How could a man who could start an affair with his partner’s daughter not be capable of just about anything else, the argument went? A welter of publicity followed, claims (that no mother, especially one as devoted as Farrow, could possibly make such a thing up), counterclaims (that in fact she had done so, that Dylan was coached – which she denies, and that it was all an act of vengeance for the Soon-Yi affair), along with gossip and hearsay proliferated.

Dylan and her brother Ronan Farrow began speaking about the matter publicly themselves in 2014. This has disinterred old battle lines and occasioned new accounts from people who were close to the family at the time and from Moses, another of the Farrow children, which contradict either things they said at the time or the saintly mother narrative that seemed the most natural one. Meanwhile, doctors examined Dylan at the time and found no evidence to support Farrow’s contention, and Allen was investigated by the Yale New Haven hospital’s child sexual abuse clinic and the New York State’s social services department, who reached similar conclusions.

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Canadian lobbyists attack Netflix children’s film for ‘anti-oil propaganda’

Canadian Energy Centre, funded by Alberta government, says Bigfoot Family ‘brainwashes’ youngsters and ‘peddles lies’

The animated film Bigfoot Family has come under fire in Canada – but not because of its stilted dialogue or confusing plot.

Instead, a government-funded lobbying group has targeted the movie – a fantasy epic featuring a human family whose father is Bigfoot – on the grounds that it “peddles lies” about the oil and gas industry.

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While We Are Here review – enigmatic study of romance is hard to love

There is an avant-garde bravery to this international love story – but how can we invest in protagonists we never see?

Here is a thought-experiment of a movie from Brazilian film-makers Clarissa Campolina and Luiz Pretti: it’s a dramatic essay, or docu-fictional romance, or perhaps the cinematic equivalent of an epistolary novel, and it has been much admired on the festival circuit.

Related: Streaming: indie films from Latin America

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Lady Gucci is just the latest guise of the ever transmutable Lady Gaga

Pop singer, activist, art installation, actor, Stefani Germanotta has taken on many faces

Like Lon Chaney, the great silent actor known as “The Man of a Thousand Faces”, Lady Gaga has traversed roles, from music to fashion to film to politics, transmuting with creative fluidity but remaining – sometimes with defiance – the girl next door.

Last week, the 34-year-old star – days after retrieving her two French bulldogs from a dognapping in which her walker was shot and injured – posted a photo of herself beside actor Adam Driver in which she was wearing a white fur hat and was draped in gold jewellery. It was a publicity shot from Ridley Scott’s House of Gucci, a forthcoming film based on the story of Patrizia Reggiani, aka the Black Widow (played by Gaga), who married – and later had killed – Maurizio Gucci, head of the luxury fashion house.

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On my radar: Aidan Moffat’s cultural highlights

The Arab Strap vocalist on late-night horror chats with his mum, spending time with Alan Partridge, and bingeing on Succession

Born in Falkirk, Scotland, in 1973, Aidan Moffat is the vocalist of indie rock band Arab Strap, which he founded in 1995 with Malcolm Middleton. Characterised by Moffat’s half-spoken vocals over lo-fi instrumentation, the band gained international acclaim with 1996 single The First Big Weekend; they went on to release six studio albums before splitting in 2006 and reforming in 2016. Since 2002, Moffat has released music under the name L Pierre, and collaborated with artists including Mogwai and Bill Wells. Arab Strap’s first album in 16 years, As Days Get Dark, is was released this month on Rock Action.

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Actor strips at ‘French Oscars’ in protest at closure of theatres and cinemas

Corinne Masiero criticises coronavirus strategy with words ‘no culture no future’ on her chest

A French actor stripped naked on stage during a scaled-back César Awards ceremony in Paris to protest against the government’s closure of theatres and cinemas during the coronavirus pandemic.

Corinne Masiero had “no culture no future” written on her chest and “give us art back Jean” on her back, in a message to the prime minister, Jean Castex.

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Hollywood Down Under: stars flock from US to film in Covid-free Australia

Blessed with sunny weather, diverse locations and a ready-made film industry, Sydney and the Gold Coast have become movie powerhouses

On a warmish Wednesday evening early in the year, Paul Mescal was celebrating his birthday and everybody seemed to know. The Irish actor, famous for his neckchain and his leading role in Normal People, was in Sydney, Australia, for a new film, and the word was spreading. He was photographed running in Centennial Park. He was sighted at Tamarama Beach. He popped into an inner-city pub.

But on the list of stars now working in Australia, Mescal – in Sydney for a musical film adaptation of Carmen – is comfortably mid-level. Thanks to its relative freedom from Covid-19 and associated restrictions, Australia – blessed with diverse locations, sunny weather and a ready-made film infrastructure – has become Hollywood Down Under.

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Out of Africa: how Netflix’s ambitions could change the continent’s cinema

The streaming giant has come knocking, but a lack of infrastructure and government support continues to hinder the continent telling its own stories

It was the sight of donkeys carrying camera equipment that reminded Lemohang Jeremiah Mosese he was shooting in Lesotho. The director was filming This Is Not a Burial, It Is a Resurrection in a remote part of his tiny home nation, which has no cinemas and – unsurprisingly – zero film infrastructure. “It’s a bit daring to take a crew there and shoot because there’s no electricity,” Mosese says from his home in Berlin. “Especially when we go to the mountains – we had to rely on the donkeys because at some point we just couldn’t carry the equipment.”

The shoot ran on petrol-powered generators. Villagers pitched in as ad-hoc crew members. Many fingers were crossed. “We had to build everything from scratch,” he says. That approach didn’t harm the film. Critically lauded, the stylish mood piece about grief, community and egregious land development has been entered in the Oscars as the country’s 2021 candidate.

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Eddie Izzard: ‘I’m just trying to create a space for myself’

The actor and comic on making her female pronouns permanent, shouting down abuse, enduring a marathon a day – and running for Labour

Eddie Izzard doesn’t understand what all the fuss is about. In December, it was reported that the standup comic/actor/campaigner/endurance runner had adopted the pronouns “she” and “her” and wanted to be “based in girl mode” from now on. Well, it hardly came out of the blue, she says today. Izzard had spent the past 35 years building up to it, and when she did finally make the announcement it happened by chance.

A few months earlier, Izzard had been a guest on the Sky Arts series Portrait Artist Of the Year, and was asked, for the first time, which pronouns she preferred. She replied “she and her” and never gave it another thought. By the time the programme was broadcast, Izzard had forgotten about the conversation. And suddenly she was headline news.

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The making of a heavyweight: Scorsese and De Niro behind the scenes of Raging Bull – in pictures

The award-winning biopic of Jake LaMotta was released 40 years ago. With these exclusive images, Jay Glennie, who interviewed the cast and crew for a new book, reveals secrets of the film’s shoot

  • Raging Bull: The Making Of, by Jay Glennie is published on 5 April by Coattail. Use code RBP10 to receive a discount
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Diane Keaton’s 10 best performances – ranked!

With the Oscar winner’s romcom Love, Weddings & Other Disasters out next month in the UK, we run through her greatest roles

Some of the jokes in Sleeper are as dated as the special effects (and they looked creaky enough nearly 50 years ago). But Keaton is ethereally lovely as Luna, a socialite from the future. As always, there is an intelligence to her performance that lifts her above the weaker material, such as Woody Allen’s character floating around a field in a hydrovac suit.

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Come True review – blow-out imagery in visionary sleep disorder thriller

An insomniac student is haunted by a demonic figure in this flamboyant and stylised waking dream of a film

There is something visionary about this near-nonsensical, kitsch but atmospheric techno-thriller from Canadian director Anthony Scott Burns. Drawn along on dark somnambulic rhythms, it incorporates elements of fantasy, horror and 80s synthwave aesthetics without giving itself over completely to any of them.

A wordless first 10 minutes introduces us to Sarah (Julia Sarah Stone), a runaway student apparently unwelcome or unwilling to return home, waking in spectrally lit parks and falling asleep in coffee shops. Dropping suddenly into surrealistic CGI dreams that track inexorably towards a demonic figure who, if approached too closely, wakes her with a start. Sarah decides to try and climb out of this insomniac bath by enrolling in a university sleep study. It is overseen by Dr Meyer, a Cronenbergian academic in big glasses, but run by a trio of researchers who, like the memory technicians in Eternal Sunshine of the Spotless Mind, have a loose relationship with scientific protocol. Becoming close to Jeremy (Landon Liboiron), she learns that they are using pioneering technology to observe the subjects’ dreams – and that the same shadowy presence manifests in all of them.

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Cocaine Bear: the must-see and must-avoid movie of 2022

Elizabeth Banks’s new film, about the aftermath of a narcotics drop in a Georgia national park, may be less hilarious than it first sounds

There is a school of thought that Elizabeth Banks’s version of Charlie’s Angels flopped because it was too familiar; it was in effect a reboot of a reboot of an iconic television series that had long wrung itself dry. People knew exactly what to expect from it, so they stayed away. That’s unlikely to happen with her next film, though, because her next film is going to be called Cocaine Bear.

And, I mean, you’re in, right? You’d watch a film called Cocaine Bear. Regardless of quality or budget or genre, you’d watch Cocaine Bear. You wouldn’t even buy your tickets online, because that would rob you of the opportunity to say out loud to a cinema employee: “I would like to spend my own money to watch a film called Cocaine Bear.”

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