Are we all living in the Matrix? Behind a documentary on simulation theory

In A Glitch in the Matrix, film-maker Rodney Acher speaks to people who are convinced that the world we’re living in isn’t real

Rodney Ascher’s new documentary A Glitch in the Matrix opens, as so many nonfiction films do, with an interview subject getting settled in their camera set-up. In this instance, a guy named Paul Gude is Skyping in from a setting familiar to anyone who’s spent the last year trapped in video-chats. He’s sitting in what appears to be a bedroom made to double as an office, the fisheyed webcam lens catching some dirty laundry, a shelf full of books and decorative toys, some homemade-looking art on the walls. But the eye is instantly drawn to Gude himself, a hyperreal computer-generated creature with shiny copper skin, warrior armor, a scar stretching from his forehead to his cheek, and a mane of shifting polygons in jewel-tone ruby red making his head look like a 20-sided die. He could be a distant cousin of Lion-O from the Thundercats, and he’s here to tell us that everything we know may be a lie.

Related: A Glitch in the Matrix review – deep-dive into simulation theory

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Toyah Willcox: ‘My mother always wanted me altered in some way. I was never right’

The singer and actor has had a productive pandemic – and gone viral from her kitchen. She talks about escaping her childhood, sexual harassment and persuading her rock star husband to dress in a tutu

Of all the celebrity offerings that have come out of the pandemic, the gloriously weird videos made by Toyah Willcox and her husband, Robert Fripp, are surely the most compelling. It is possible, within each short clip, to cycle through every feeling from wanting to cover your eyes while being unable to look away, to the dawning realisation you may be watching a profound piece of performance art. Mostly, it is impossible not to laugh. There they are in their cosy Worcestershire kitchen, perhaps with the dishwasher open in the background, with Willcox, accessorised with mouse ears, tap-dancing, bouncing off the Aga. Both dressed in black tutus at the end of their garden, the pair dance across the screen to music from Swan Lake. Fripp lies on the floor of the hallway, while Willcox – dressed in red PVC and devil horns – performs the Kinks’ You Really Got Me on the stairs. It’s joyous.

Willcox has been uploading their Sunday Lockdown Lunch videos since April last year; they also do a weekly agony aunt session, and Willcox does her own Q&A, talking about her life and long career as an actor, pop star and general cultural fixture for the past 40 years. It started, she says, as a way to occupy Fripp, the musician and founder of the prog rock band King Crimson. “Here I am in this house with this 74-year-old husband who I really don’t want to live without,” she says. “He was withdrawing, so I thought: ‘I’m going to teach him to dance.’ And it became a challenge.” They posted a video, and it took off. “It was: ‘Wow, I’ve never experienced the power of that connection.’”

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The Recce review – crossing enemy lines in South African action-drama

An elite soldier is sent on a perilous solo mission in this underwhelming drama set during the Namibian war of independence

This South African-made action-drama unfolds against the background of a conflict little known about above the equator, much less used as a setting for film – the Namibian war of independence from 1966-90, AKA the South African border war. Often considered South Africa’s version of Vietnam, it was, among other things, a proxy fight between South Africa, then still under apartheid, and its allies at the time, and the People’s Liberation Army of Namibia, who were backed by the Soviet Union and Cuba.

Although there’s a fair amount of on-screen contextualising in the opening minutes to explain key terms and ideas, The Recce feels made for a local audience that has a grasp of the cultural and historical background. That means it’s not easy for outsiders to read the ideology of this stylised, fictional account of an elite Afrikaner soldier, Henk Viljoen (Greg Kriek), the “recce”, who is ordered to go across enemy lines alone one last time to kill a Russian officer. Henk leaves behind his pregnant wife Nicola (Christia Visser), with whom we spend a lot of screen time as she looks anxious, remembers happier moments in her marriage and visits Henk’s parents, who are sick with worry about their son. In the narrative mix is Captain Le Roux (Grant Swanby), an English-speaking South African officer who is also worried about Henk and the general madness of the war.

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Golden Globes upend history as three female directors nominated

Emerald Fennell, Chloé Zhao and Regina King compete in category previously marked by its male dominance, as Mank and The Trial of the Chicago 7 lead field of overall nominations

Three female directors will compete for the first time at this year’s Golden Globes, following decades in which it was rare a single woman was mentioned in the category.

Only five female directors have ever been nominated in the Globes’ 78 year history: Sofia Coppola, Jane Campion and Ava DuVernay, while Kathryn Bigelow and Barbra Streisand have both been nominated twice. Only Streisand has won – for Yentl in 1983.

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Pleasure review – bold, explicit and ambitious LA porn drama

In Swedish film-maker Ninja Thyberg’s strong debut, a young woman discovers a difficult, male-dominated industry as she strives for agency

The observational eye of Pleasure, an ambitious Sundance debut by the Swedish film-maker Ninja Thyberg, is so transactional, at once unsparing and recessive, that one might mistake the first 10 minutes of this drama on the American adult film business for a documentary. “Business or pleasure?” the customs agent asks 19-year-old Swedish visitor Bella Cherry as she enters the country with a dream to become a porn star. She answers, vacantly, “Pleasure,” but the film’s opening moments are all business: a full frontal, zoomed-in shot of Bella’s delicate balancing act in the shower as she shaves her vulva for a shoot; Bella affirming her birthdate (1999), agreed-upon pay ($900 for playing innocent virgin in girl-guy porn), and consent to perform a sexually explicit act for a contract; the bright lighting of professional shoots; crew-members’ playful teasing when Bella, a first-time performer, is confused by the use of a douche.

Related: Judas and the Black Messiah review – electric Black Panthers drama

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‘I document America’s strange beauty’: the photography of My Name Is Earl’s Jason Lee

He played a redemption-seeking redneck on TV, but lately the actor has found solace off-screen, travelling with his camera. He talks about slackers, the Mallrats sequel and breezing into one-horse towns

Jason Lee knew he was in trouble when he stepped on the set. The year was 1992, Sonic Youth were at their peak and he was starring as a doomed skateboarder in their latest video. As a music obsessed, pro skateboarder with acting aspirations, he felt he had a point to prove. To add more pressure, it was for the song 100% – the band’s classic ode to a murdered Black Flag roadie – and the video was being co-directed by one of his skateboarding friends (some guy called Spike Jonze).

“I was really trying my hardest to focus,” says Lee. “I was like pretending to be Robert De Niro on the set, really trying to get into it and make it count and make it real and believable.”

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Flee review – remarkable refugee story told with heart and audacity

A thrilling documentary made with a blend of animation and archive footage tells an immensely powerful tale of a gay Afghan survivor

In what’s proving to be a rather sub-par Sundance (an understandable blip given the unusual nature of this year’s virtual festival), it’s a genuine thrill to encounter a film as exciting and immediate as Flee, a much-needed jolt of energy now reverberating on laptop screens across the country. Even in a traditional year, it’s the kind of audacious and uniquely told story that would have attendees excitedly buzzing around Park City, urging others to seek out, and despite the fractured nature of this year’s edition, a swell of digital support has helped it nab a seven-figure deal with Neon (helped also perhaps by its star producers Riz Ahmed and Nikolaj Coster-Waldau), this year’s first big sale, a well-earned reward for what’s likely to be the best film of the festival.

Related: Passing review – Rebecca Hall's elegant but inert directorial debut

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Swedish nurse to be sole attendee of film festival on remote island

Lisa Enroth was chosen from 12,000 applicants to be Gothenburg film festival’s castaway on Pater Noster

Scandinavia’s biggest film festival is going ahead this year despite the coronavirus pandemic, but will be hosted on an isolated island and admit only one attendee – a healthcare worker, who has been selected from 12,000 applicants.

Lisa Enroth, a Swedish nurse and film fan, was chosen to be the 2021 Gothenburg film festival’s castaway who will spend a week on the remote island of Pater Noster watching film after film.

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Ethan Hawke: ‘It’s just a petrifying time to speak about male sexuality’

The Oscar-nominated actor on his new novel set during a production of Henry IV, dealing with bad reviews and art’s role in examining all human behaviour

Ethan Hawke is an actor, writer and director, star of the films Dead Poets Society, Training Day and Boyhood. He has been nominated for Academy Awards for his acting, and for his writing on Before Sunset and Before Midnight. Hawke describes theatre as his first love and has featured in a number of plays by Sam Shepard, as well as in productions of work by Shakespeare, Chekhov, and his own second cousin twice-removed, Tennessee Williams.

Hawke’s first novel, The Hottest State, was published in 1996. His second, Ash Wednesday, came out in 2002. Now, with A Bright Ray of Darkness, Hawke brings us a novel that is structured around a stage production of Henry IV, Part 1. The book’s narrator, William Harding, is a hard-drinking film star who seeks to overcome a period of personal turmoil by throwing himself into his role as Henry Percy.

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Nancy Sinatra: ‘I’ll never forgive Trump voters. I hope the anger doesn’t kill me’

She may be 80 and cut off by Covid, but she’s still ready to walk all over Donald Trump. As her greatest songs are reissued, she reflects on the sexual politics of the 60s, her friendship with Elvis and her hopes for peace in the US

Nancy Sinatra has one of the most famous surnames in America, but she has struggled to feel proudly American of late. It’s a couple of weeks away from the inauguration of Joe Biden, and the singer and film star is recalling Donald Trump’s preparations for his own inauguration in 2017: his first dance with his wife Melania would be to her father’s signature hit, My Way.

Sinatra was disgusted. Her father was no fan of Trump: according to Frank’s former manager, he told Trump to “go fuck himself” after the billionaire refused to meet Frank’s fee for a 1990 performance at an Atlantic City casino. Nancy, in a since deleted tweet to Trump, wrote: “Just remember the first line of the song.” My Way begins: “And now the end is near.”

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Confused about GameStop? Five films to watch to help you pretend to understand the stock market

You don’t have to be a redditer or a big investor to enjoy these Hollywood blockbusters that double as the perfect educational resource

The GameStop debacle has put the stock market on everyone’s radar this week – even those who rarely pay it any attention. Many are depicting the incident as a David-and-Goliath battle between small investors gathering on Reddit message-boards and Wall Street powerbrokers finding themselves unexpectedly on the back foot at their own game. Billions of dollars are in the balance.

Along with such major news events, though, come the instant internet experts. Let’s face it: most of us understand diddly squat about the stock market and rely on Hollywood to inform us about an industry that it portrays as a place in which, to quote from the tyrannical, fictional Gordan Gekko: “lunch is for wimps”.

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Coda review – formulaic yet sweet-natured crowd-pleaser

A hearing girl with a deaf family is torn between two worlds in a well-intentioned but conventional attempt to win over audiences

There’s an earnest old-fashioned Sundance-ness to writer-director Sian Heder’s broad comedy-drama Coda, the kind of warm-hearted crowd-pleaser that the festival is most widely known for. In any normal year, it would probably have been met with audible approval throughout its premiere. But this isn’t a normal year, with the majority of festival goers watching the film at home, perhaps less pumped up by the thrill of seeing it with a crowd. With or without an audience, it’s a minor film, a little too formulaic at times, a tad too comfortable sticking to a dog-eared playbook, eager to be loved but not really trying hard enough to be remembered.

Related: Sundance 2021: which films might break out this year?

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‘I was appalled to be tarred as misogynist’: Variety critic hits back at Carey Mulligan’s sexism accusations

Exclusive: Dennis Harvey, the critic whose review of Promising Young Woman prompted outrage from its star and an apology from his editors, has spoken out

Dennis Harvey, the veteran film critic whose review of Promising Young Woman has sparked a furore across the industry, has hit back at accusations of misogyny amid calls for Variety to fire him.

Harvey’s review was published more than a year ago, following the film’s premiere at the Sundance film festival. Largely positive, it called Mulligan’s performance “skilful, entertaining and challenging” while also querying the central casting. While “a fine actress”, wrote Harvey, Mulligan “seems a bit of an odd choice as this admittedly many-layered apparent femme fatale”.

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‘Alarmingly sexist’: Variety review boosts calls for more diverse film critics

Male writer’s comments on Carey Mulligan’s looks said to highlight ‘double standards’ in industry

Film criticism is facing renewed condemnation over a lack of diversity after a review deemed by many – including its subject – to be alarmingly sexist.

“I just couldn’t believe it,” said Carey Mulligan, who was judged by the veteran Variety reviewer Dennis Harvey to be insufficiently attractive to convince in her latest role.

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Ralph Fiennes’s 20 best film performances – ranked!

As his new film The Dig comes to Netflix, we take a deep dive into Fiennes’s career – from Quiz Show and The English Patient to In Bruges and The Lego Batman Movie

This version of Dickens’s Great Expectations, scripted by David Nicholls, was maybe not groundbreaking but was watchable and featured Ralph Fiennes as the convict Magwitch. He is seen first leaping out and scaring Pip in the churchyard with a convict’s number-one cut and mud all over his face, and later with longish hair, clean-shaven in a mysterious, new respectable guise. It’s a transformation that should perhaps have given Fiennes more of a performing showcase.

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Doe-eyed Kristen Stewart might just take the crown as Princess Diana

In a highly competitive field, the American actor has perfected the put-upon princess look for Spencer, the latest royal biopic

Some films have to work harder than others to get bums on seats. Some can charm audiences with big stars, or the lure of a continuing franchise, or the promise of a scene where King Kong takes a swing at Godzilla like he’s half-cut in a Wetherspoons car park. And then, right at the other end of the scale, is Spencer.

Make no mistake, Spencer will have to be brilliant to make people go and see it. Better than brilliant, even. It will have to be the perfect movie; entertaining and fun and moving and so technically accomplished that film historians will come to view it as the moment that cinema entered a new epoch. Anything less than that and Spencer is done for.

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‘They said I wasn’t hot enough’: Carey Mulligan hits out again at magazine review

Variety review of black comedy Promising Young Woman prompts actor to speak out on industry’s institutionalised sexism

Carey Mulligan has said she was alarmed after a major publication ran a review of her new film questioning whether she was attractive enough for the role.

Related: Variety's apology to Carey Mulligan shows that the critic's ivory tower is toppling | Peter Bradshaw

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The Capote Tapes: inside the scandal ignited by Truman’s explosive final novel

He partied with high society America but caused outrage when he spilled their secrets. Ebs Burnough talks us through his new film about Answered Prayers – the ‘smart, salacious’ novel Capote never finished

When Truman Capote died in 1984, he left the remains of a novel he had been hatching for nearly two decades, and talking about for almost as long. Answered Prayers, the story of a budding writer screwing his way through polite society, was intended to be Capote’s most explosive achievement. He likened it to a deadly weapon. “There’s the handle, the trigger, the barrel, and, finally, the bullet,” he told People magazine. “And when that bullet is fired from the gun, it’s going to come out with a speed and power like you’ve never seen – wham!” Having bragged about the book for years, all he had to do now was write it.

A contract was signed in 1966, but advance chapters published in Esquire magazine nine years later proved to be far below the standard of his defining successes, Breakfast at Tiffany’s and the “non-fiction novel” In Cold Blood. There was a cost to his social reputation as well as his literary one. As soon as the socialites and wealthy wives with whom he had mingled happily for years – including Slim Keith, Babe Paley and Gloria Vanderbilt, whom he called his “swans” – saw how casually he had spilled their most intimate secrets, those friendships were dead. Capote hadn’t bitten the hand that fed him. He’d gnawed it off at the wrist.

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Godzilla vs Kong: the big dumb action movie we’ve been waiting for?

The trailer for the monster match-up promises bad dialogue and convoluted mythology, but also two giant creatures fighting until the death

We can all agree that the restrictions brought about by Covid have reinforced all the things we previously took for granted. Some miss their loved ones. Some miss the pulsating mass of warm strangers on an unplanned night out. Me? It turns out that I apparently miss the sight of a massive gorilla punching a radioactive sea monster right in the middle of its dumb face.

Related: Charlie Cox's Daredevil would be a welcome addition to the Marvel Cinematic Universe

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