Sharp Stick review – Lena Dunham’s comeback is a misjudged experiment

The Girls co-creator’s first feature since 2011 on a 26-year-old’s sexual awakening has flashes of brilliance but is hobbled by infantilization

Ever since Hannah Horvath, the unfocused twentysomething protagonist of the HBO series Girls, declared herself the voice of a generation, audiences have struggled to read Lena Dunham. The line was clearly at least half-ironic, a joke, but many took it at face value, indicative of Dunham’s aspirations as both a writer and public figure. Dunham has provoked, fairly and unfairly, intense reactions since Girls, which she created with Jenni Konner, put her on the map in 2012, at 25; her solid artistic instincts – go back and watch the pre-MeToo sixth season episode American Bitch, which shreds the double-edged flattery of the self-important male artist – are often accompanied by baffling foot-in-mouth moments along lines of race, class, gender, and plain old overexposure.

Sharp Stick, Dunham’s first film since her breakout feature Tiny Furniture in 2011, isn’t likely to help that reputation. This awkward, misjudged, occasionally sexy film has seeds of a radical, fresh story and flashes of directorial brilliance but is hobbled throughout by the confounding decision to write her 26-year-old main character as either insensitively neuro-divergent or more sheltered child than adult.

Sharp Stick is showing at the Sundance film festival with a release date to be announced

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Liborio review – fascinating account of a true-life Dominican folk hero

A faith healer in the Dominican Republic falls foul of the US in this arresting, ambiguous drama

Here’s a striking and mysterious debut from the Dominican Republic, where film-maker Nino Martínez Sosa recounts a fascinating true-life story of occupation and resistance from the turn of the last century. Olivorio Mateo was a peasant and faith healer who became known to his disciples as Papa Liborio; he built a self-sufficient community in the mountains. But when US forces occupied in the 1910s, Liborio was branded a bandit, and killed.

Not that you’d know any of the historical facts from watching this, which is set squarely in the arthouse endurance-test genre: there is little to no scene-setting or explainers, with the kind of pacing often euphemistically described by critics as “deliberate”. It begins after Liborio vanishes from his village during a hurricane, presumed dead. When he is found alive, he claims to have returned from God with healing powers and takes a band of followers up into the mountains.

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Nanny review – promising domestic worker thriller gets jumbled

A Senegalese immigrant nanny battles micro-aggressions and otherworldly forces in a novel yet loosely assembled debut

It’s remarkable how infrequently modern-day domestic workers are portrayed as fully formed characters in TV and film, given their ubiquity and necessity in the lives of so many. Perhaps part of that is because “the help” isn’t meant to be noticed (the flamboyant Fran Fine notwithstanding) or that the lives of low-wage people of color, many of whom are immigrants, haven’t traditionally piqued the interest of privileged Hollywood. When domestic workers do see screen time, it’s often through the gaze of the privileged.

Enter film-maker ​​Nikyatu Jusu, whose mother, an immigrant from Sierra Leone, had been a domestic worker. Raised in Atlanta, the young Jusu watched her parent “put her dreams to the side to be a peripheral mother in other mother’s narratives”.

Nanny is showing at the Sundance film festival with a release date to be announced

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Behind the scenes of Munich: The Edge of War – in pictures

Guardian photographer Sarah Lee describes her experience as a stills photographer on the set of the joint British-German Netflix production starring Jeremy Irons

Munich, based on the Robert Harris novel, is a German-British TV production that was filmed in Germany and subsequently in England in late 2020. I was invited to join the crew as an on-set stills photographer for the UK leg of shooting.

We started in Liverpool, which was doubling for 1930s London. The historic Liver Building, which stood in for Gotham city in the forthcoming Batman movie, made a very convincing Whitehall. The production later moved south to Amersham in Buckinghamshire where we shot in historic houses used as sets for Chequers and Downing Street.

Liverpool doubled for 1930s London – with the historic Liver Building making an impressive substitute for Whitehall

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Dirty Harry at 50: Clint Eastwood’s seminal, troubling 70s antihero

The off-the-leash cop archetype was cemented with Don Siegel’s taut, provocative thriller that neither condemns or condones extreme measures

Harry Callahan is the cop we’ve been warned about. Though this week marks fifty years since Don Siegel’s genre-defining thriller Dirty Harry busted into cinemas with Smith & Wessons blazing, the general profile of dangerous, off-the-leash law enforcement solidified over the last half-decade of public discourse sounds like it could’ve been traced from the film’s example. Played with a scowl of blanket disgust by Clint Eastwood – Paul Newman had passed on the role as “too right-wing” – San Francisco PD’s top inspector is more than your standard-issue misanthrope. He’s an equal-opportunity bigot, contemptuous of every ethnic group rattled off by a fellow officer in a laundry list of slurs. He’ll readily resort to violence in his work, not above a bit of crude torture to extract information from a perp with a bullet wound. And most hazardous of all, he believes himself unanswerable to anyone but God, who he’d probably just meet with the same glowering frown.

From its earliest stages of development, the script conceived by husband-and-wife team Harry and Rita Fink made clear that Harry’s no boy Scout, but partisans on either side of the ideological aisle looking for affirmation in their stance will be disappointed. Those with hopes for an out-and-out denunciation of this brutish approach to policing have another thing coming, the coarser methods often validated by necessity, as if Harry’s the last line of defense for a society teetering on the brink of anarchy. (The guy can’t even get a hot dog without a bank robbery demanding his attention.) Any gung-ho types walking away as converted Calla-fans have also missed something crucial, however, blind to his placelessness in the city he’s sworn to protect. Neither condemning nor condoning his actions, the film offers what may be the clearest image of the archetypal cop’s self-perception as the only one willing to do the dirty jobs holding America together, even if it means getting dirty yourself.

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Golden Globes 2022 tries to do better as Lady Gaga brings the outrage

After a year of criticism over diversity, the Golden Globes have come up with a decent slate of nominees, with Gaga surely the favourite for best actress

Full list of 2020 nominations

The Golden Globes nomination list has been announced with a solemn introduction from the Hollywood Foreign Press Association’s president Helen Hoehne, to the effect that the Globes’ much-criticised controlling body was “trying to be better” and that its constituent membership was more diverse than at any other time in its history. Which is better, I suppose, than being less diverse than at any time in its history.

At any rate, leading the pack are Belfast, Kenneth Branagh’s unashamed heartwarmer about the home town of his early childhood, with seven nominations and Jane Campion’s stark, twisty western-Gothic psychodrama The Power of the Dog, set in 1920s Montana with Benedict Cumberbatch as the troubled, angry cattleman who begins a toxic duel with his new sister-in-law played by Kirsten Dunst and her sensitive teenage son, played by Kodi Smit-McPhee.

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The Hand of God review – Paolo Sorrentino tells his own Maradona story

The Italian film-maker may owe his life to the footballer, as this vivid, autobiographical Neapolitan drama reveals

Paolo Sorrentino’s extravagantly personal movie gives us all a sentimental education in this director’s boyhood and coming of age – or at any rate, what he now creatively remembers of it – in Naples in the 1980s, where everyone had gone collectively crazy for SSC Napoli’s new signing, footballing legend Diego Maradona. We watch as a family party explodes with joy around the TV when Maradona scores his handball goal in the 1986 World Cup. A leftwing uncle growls with pleasure at the imperialist English getting scammed.

This is a tribute to Sorrentino’s late parents, who in 1987 died together of carbon monoxide poisoning at their holiday chalet outside the city, where 16-year-old Paolo might himself also have been staying had it not been that he wanted to see Napoli playing at home. So maybe Maradona saved his life, but it was a bittersweet rescue. The hand of God, after all, struck down his mum and dad and spared him. Newcomer Filippo Scotti plays 16-year-old Fabietto (that is, Sorrentino himself) at the centre of a garrulous swirl of family members. Toni Servillo plays his dad, Saverio, and Teresa Saponangelo gives a lovely performance as his mother, Maria, with a skittish love of making practical jokes.

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There Is No Evil review – passionate plea against Iran’s soul-poisoning executions

Dissident Mohammad Rasoulof blasts against his country’s profligate use of capital punishment that includes making citizens carry out death sentences

Maybe you don’t go to Iranian cinema for nail-biting action and suspense. But that’s what you are given in this arresting portmanteau film, the Golden Bear winner at last year’s Berlin film festival. It is written and directed by film-maker and democracy campaigner Mohammad Rasoulof, who has repeatedly been victimised by the Iranian government for his dissident “propaganda” – most recently, in 2020, with a one-year prison sentence and two-year ban on film-making. As with Rasoulof’s fellow Iranian director Jafar Panahi, a ban of this sort can be finessed, by playing on the government’s strange pedantry and hypocrisy. If the film is technically registered to someone else and shown outside Iran at international film festivals where its appearance boosts Iran’s cultural prestige, the authorities appear to let it slide, though persist with harassment.

There Is No Evil consists of four short stories – with twists and ingeniously concealed interconnections – on the topic of the death penalty and how it is poisoning the country’s soul. Hundreds of people are executed a year in Iran, including children. Execution of the condemned criminal is the job of civilian functionaries but also widely carried out by soldiers doing compulsory national service.

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‘I have an outsider’s perspective’: why Will Sharpe is the A-List’s new favourite director

The actor-director won a Bafta for his performance in Giri/Haji. Hailed as a star in the making by Olivia Colman​ and others, he discusses the true stories that inspired his new projects behind the camera

Will Sharpe has only been surfing a couple of times, but he really loved it. “So I’m not a surfer, I’m not very good at it, I’ve been twice,” clarifies the 35-year-old English-Japanese actor, writer and director. “But there’s something about being in this huge, loud, ‘other’ force and I never feel calmer than when I’m underwater in the sea. I just really took to it.”

Sharpe sees parallels with his work, which has so far included the surreal, darkly funny sitcom Flowers starring Julian Barratt and Olivia Colman that he created for Channel 4, and a magnetic performance as sarcastic, self-destructive Rodney in the BBC drama Giri/Haji, which earned him a Bafta in 2020 for best supporting actor. “When I came back to writing, having been surfing, I found myself reflecting on how there are certain similarities: you have to get everything technically right, but you’re still at the mercy of this much greater power,” he says. “And how 95% of the time you are getting the shit kicked out of you, but the 5% of the time that it works, it’s so exhilarating you just want to do it again straight away.”

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Rocky IV: Rocky vs Drago review – silly director’s cut is a losing battle

Sylvester Stallone’s attempt to put a new sheen on his Cold War relic of a sequel is a ridiculous and largely pointless undertaking

There’s a tension in the Rocky series between two largely incompatible conceits: Rocky Balboa as the shy, humble, gentleman brawler from working-class Philly or Rocky Balboa as the cartoon avatar of America’s can-do spirit, intrepidly grinding through title matches against stronger, faster, more colorful opponents. The first type won a best picture Oscar for its young writer/star, Sylvester Stallone, who, in classic underdog fashion, was wildly overmatched against All the President’s Men, Bound for Glory, Network, and Taxi Driver. The second type dominated the next decade in ever-more garish and cynical vehicles, none dumber than Rocky IV, which pitted The Italian Stallion against Ivan Drago, a dead-eyed, machine-tooled robot of the Soviet empire.

Now that Creed and its sequel have brought the vintage Rocky back — and, in Creed II, the surprisingly affecting return of Dolph Lundgren as Drago — Stallone has retooled Rocky IV to seem more like the original Rocky, at least insofar as such a feat is possible. His new Rocky IV: Rocky Vs. Drago is only a few minutes longer than the original cut, but there’s a significant amount of tinkering in this version, particularly toward the beginning, that’s intended to add depth to Rocky’s relationships to his friend and rival Apollo Creed (Carl Weathers) and his wife Adrian (Talia Shire), and remove some of the sillier touches, most notably the infamous robot given to his brother-in-law, Paulie (Burt Young), as a birthday gift.

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Volcano review – spoon-glueing Ukrainian adventure takes a surreal turn

Roman Bondarchuk handles this strange tale about an interpreter left stranded with some locals with deadpan poise

“That’s our wandering buoy. It slipped its anchor near the dam. It appears and disappears at will.” A light, unfathomable absurdity governs this 2018 fiction debut by Ukrainian documentarian Roman Bondarchuk, set in the area around the city of Kherson; a sun-roasted steppe north of the Crimea where Organisation for Security and Cooperation in Europe (OSCE) interpreter Lukas (Serhiy Stepansky) becomes stranded. He’s escorting an SUV full of foreign delegates when it breaks down and he wanders off in search of a mobile signal. On his return, both car and foreigners have vanished.

Hitching a ride, Lukas is invited to stay with Vova (Viktor Zhdanov), a middle-aged potterer living with his mother and daughter in a capacious ramshackle construction on the banks of the Dnieper river. So begins Lukas’s initiation – like a milder Ukrainian version of Wake in Fright – into the local anomie. Vova enjoys sticking spoons to his forehead using the supply of glue that was his severance payment from the Soviet fish farm he worked for; then Lukas gets an invite to a listless student party where someone nicks his jacket and wallet. Constantly slipping sly details into the frame, Bondarchuk handles the whole farrago with a lovely deadpan poise. Incensed by the theft, Lukas heads to the police station to make a complaint. Cut to him in the cells.

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7 Prisoners review – a powerful tale of slavery in modern-day São Paulo

An impoverished teen seeks to escape the clutches of a human trafficker in Alexandre Moratto’s complex drama

Brazilian director Alexandre Moratto’s follow-up to his award-winning debut Socrates, 7 Prisoners delves into the subject of modern slavery through the eyes of 18-year-old Mateus (Christian Malheiros, excellent). In order to support his family, Mateus takes a job in the city, but finds himself imprisoned and working off a seemingly endless debt to his employer (Rodrigo Santoro). His initial reaction is desperation and anger, but Mateus is smart and negotiates with his captor on behalf of his fellow workers. The rather on-the-nose storytelling grows increasingly complex and interesting the further that the protagonist ventures into morally ambiguous territory.

In cinemas and on Netflix from 11 November

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David Chase: I was annoyed that fans wanted Tony Soprano dead

Series showrunner tells podcast that ambiguous ending rankled with viewers who wanted to see the character ‘face-down in linguini’

David Chase, the creator of The Sopranos, has spoken about his irritation at viewers’ desire to see Tony Soprano die at the end of the hit series.

Speaking on the Hollywood Reporter’s Awards Chatter podcast, the 76-year-old said he had been “bothered” by people’s obsession with the blackout ending of the 2007 finale, which stopped short of confirming the fate of its lead character.

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Donnie Darko at 20: the soulful student favourite comes of age

Richard Kelly’s unusual sci-fi drama made a star of Jake Gyllenhaal and introduced emo teens to a brave new world

Midway through Donnie Darko, a creative young English teacher played by Drew Barrymore repeats the old maxim – recycled over the years by linguists, scholars and writers including JRR Tolkien – that the simple, banal phrase “cellar door” is the most purely, pleasingly harmonious combination of words in the English language. There’s something to be said for that, but one wonders if writer-director Richard Kelly was offering a challenge to the claim by naming his protagonist Donnie Darko – an irresistible, perfectly ridiculous name for an ordinary suburban schoolboy that nonetheless encapsulates his fey, eccentric aura. His new girlfriend says the name aloud, lolling it like a mint in her mouth, before observing that it makes him sound like “some kind of superhero”. “What makes you think I’m not?” he replies, deadpan.

Well, what indeed. Kelly’s sci-fi-tinted tale of adolescent isolation came out six months before Spider-Man, the film that kick-started the now all-consuming superhero movie revival, and the two have more in common than you might initially assume: both are stories of an awkward teenage boy coming to terms with what appear to be otherworldly abilities, and assuming responsibility for the world around them. For plucky Peter Parker, that means standard-issue feats of derring-do and defeating evil; for downcast Donnie Darko, it means ending and altering the very timeline in which he exists, ultimately dying so that others may live. As superhero origin stories go, it doesn’t have much franchise potential: Donnie’s legend begins and ends in one fell swoop. But it has an eerie, enduring power: would that many comic-book heroes’ stories were so noble and haunting and finite.

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‘I wanted this film to be 100% Somali’: the fight to make The Gravedigger’s Wife

Khadar Ayderus Ahmed, who directed the acclaimed drama, reveals the struggle to portray his community ‘with dignity and compassion’

“I am Somali and I made this film for Somali people to watch a film in their mother tongue without needing subtitles,” says film director Khadar Ayderus Ahmed. Ahmed made his feature debut with The Gravedigger’s Wife, and after premiering in May at the Cannes film festival’s Critics’ Week, it made headlines as the first film from Somalia to be put forward for the Oscars.

“As a film-maker, I felt a sense of responsibility to tell the story of how I view my Somali community and to tell this story with dignity, tenderness and compassion – all the qualities I’ve been raised with,” says Ahmed, who was born in Somalia before moving to Finland as a teenager.

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Azor review – eerie conspiracy thriller about the complacency of the super-rich

Andreas Fontana’s debut feature is an unnervingly subtle drama about a Swiss private banker visiting clients in Argentina during the period of the military junta and ‘disappearances’

Pure evil is all around in this unnervingly subtle, sophisticated movie; an eerie oppression in the air. Andreas Fontana is a Swiss director making his feature debut with this conspiracy drama-thriller, shot with a kind of desiccated blankness, about the occult world of super-wealth and things not to be talked about. The title is a Swiss banker’s code-word in conversation for “Be silent”.

It is set in 1980 in Argentina, at the time of the junta’s dirty war against leftists and dissidents, and you could set it alongside recent movies including Benjamín Naishtat’s Rojo (2018) and Francisco Márquez’s A Common Crime (2020), which intuited the almost supernatural fear among those left behind when people they knew had vanished and joined los desaparecidos, the disappeared ones. But Azor gives a queasy new perspective on the horror of those times, and there is even a nauseous echo of the Swiss banks’ attitude to their German neighbours in the second world war.

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The Invisible Life of Euridice Gusmāo review – sisters fight the pain of patriarchy

This gorgeous and moving melodrama finds two women in 1950s Rio under suffocating family expectations – and sees what happens when they are defied

‘What do you want from life?” a husband drunkenly yells at his wife in Karim Aïnouz’s gorgeous and very moving melodrama set in 1950s Rio de Janeiro. The man’s wife is Euridice (Julia Stockler) and what she wants is to be a classical pianist. Her husband is angry and hurt: why can’t she just be happy in the kitchen? Adapted from a novel by Martha Batalha, this is the story of Euridice and her sister Guida (Carol Duarte): their inner conflicts and rebellion against the suffocating patriarchy of home.

The film beings a few years earlier: Euridice is 18 and applying to study music in Vienna. Her heart is broken when boy-mad Guida runs away with a no-good sailor to Greece, promising to write when she is married. Predictably, she returns with a baby bump and no wedding ring. There’s an appalling homecoming scene when their dad, a baker, violently shoves Guida out of the house; she’s nine months pregnant at the time (and the film never lets us forget that violence can be done to these women at any time of a man’s choosing). Unforgivably, Guida’s dad says that Euridice has left Rio and is living in Vienna. The truth is she’s up the road, married to an insightless oaf.

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Belfast review – Kenneth Branagh’s euphoric eulogy to his home city

Nightmarishness meets nostalgia as Jamie Dornan and Judi Dench star in a scintillating Troubles-era coming-of-age tale

There is a terrific warmth and tenderness to Kenneth Branagh’s elegiac, autobiographical movie about the Belfast of his childhood: spryly written, beautifully acted and shot in a lustrous monochrome, with set pieces, madeleines and epiphanies that feel like a more emollient version of Terence Davies. Some may feel that the film is sentimental or that it does not sufficiently conform to the template of political anger and despair considered appropriate for dramas about Northern Ireland and the Troubles. And yes, there is certainly a spoonful of sugar (or two) in the mix, with some mandatory Van Morrison on the soundtrack. There’s a key climactic scene about how you disarm a gunman in the middle of a riot if you have no gun yourself, which has to be charitably indulged.

But this film has such emotional generosity and wit and it tackles a dilemma of the times not often understood: when, and if, to pack up and leave Belfast? Is it an understandable matter of survival or an abandonment of your beloved home town to the extremists? (Full disclosure: my own dad left Belfast for England, though well before the era of this film.)

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Brusque cops and femmes fatales: discovering Gilles Grangier’s forgotten noir gem

Le Désordre et la Nuit, shown as part of a retrospective for the great thriller director at Lyon’s Lumière film festival, is a well-crafted treat for fans of the genre

A big feature, and an even bigger pleasure, of this year’s Lumière film festival in Lyon is the retrospective for the French master of policiers and crime, Gilles Grangier, a director who enjoyed great commercial success in movies and later in TV from the 1950s to the 80s, working with actors such as Jean Gabin and Lino Ventura and the great screenwriter Michel Audiard (father of Jacques). He was a working-class film-maker who came up from the streets of Paris, and started in the movies as a stuntman, grip, prop boy, any job he could get.

Grangier is a name perhaps eclipsed now by Jean-Pierre Melville and made to feel obsolete in the 60s by the New Wave as he was making the kind of well-crafted, unpretentious genre pictures that the new generation of revolutionaries affected to despise (while admiring the Hollywood equivalent). But his movies here have been a revelation – the late Bertrand Tavernier, the founder of this festival, was always a great ally of Grangier’s – particularly his amazingly dry, witty, briskly unsentimental lowlife crime melodrama Le Désordre et la Nuit from 1958. This thriller was adapted by Grangier and Audiard from a novel by the French wartime journalist Jacques Robert, celebrated for his 1945 reports from Berlin and being one of the few writers who saw the inside of Hitler’s bunker.

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Angeliena review – car park worker dreams of getaway in cartoonish South African drama

Thin characterisation and a superficial critique of wealth inequality post-apartheid keep Uga Carlini’s fiction in first gear

The colourful opening of Uga Carlini’s Angeliena suggests a giddy ride awaits: the camera follows a suitcase plastered with travel stickers moving along a conveyor belt at an airport. But such vibrant detail only points up the film’s lack of emotional substance. A parking attendant for a posh hospital in South Africa, Angeliena (Euodia Samson) dreams of travelling the world, she adorns her little shack with tourist posters from faraway lands. At work, Angeliena brings a glow to the austere parking lot, pinning red roses that she grows herself to the windscreen wipers of fancy SUVs.

Such sweet-natured actions are presumably intended to endear Angeliena to us, yet reduce her to a unidimensional worker with a heart of gold. The thinness of the characterisation is made more pronounced by the cartoonishly evil Dr Mitchell (Colin Moss), the hospital owner and Angeliena’s antagonist, a spewer of Trumpian one-liners. Ludicrously, the film takes a tone-deaf turn when Angeliena is revealed to be suffering from an unnamed muscular atrophy that motivates her to finally embark on her world trip. Out of the blue, she develops facial tics. The only affecting sequences are the few-and-far-between gatherings between Angeliena and her eccentric female friends.

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