Category Archives: World cinema

‘The older I get, the less I fear’: meet the Italian Larry David

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A decade after his two much-loved comedies about the vicissitudes of ageing, director Gianni Di Gregorio explains why, against his own expectations, he had to make another

In 2000, after a decade of caring for his ailing mother in her large flat in Rome, Gianni Di Gregorio wrote a comedy about a bloke called Gianni who looks after his 93-year-old mother in a large flat in Rome. No one was interested in the story, in which the unemployed bachelor ends up running around after a cohort of old ladies whose spirit and vigour remain undimmed despite various ailments. Everyone thought he was crazy: who would be interested in a funny film about four old women and a middle-aged bloke?

Related: Gianni Di Gregorio: The incidental director

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Sleazy bosses, exploited barmaids: US cinema finally discovers the left behinds

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From The Assistant to Support the Girls, American cinema is swapping feelgood escapism for gritty unsettling realism. We talk to the women spearheading this new wave

‘I wanted it to be relatable to any woman who’s ever worked in an office,” says Kitty Green of her new film The Assistant. “Everything in the film has been in the press already. But I wanted to take viewers on an emotional journey, so they could empathise with the character.”

The #MeToo saga has been examined to near exhaustion, but The Assistant manages to add something new. Rather than perpetrators or victims, it focuses on a relative bystander: a young office worker at a New York film production company. We follow this character, played by Julia Garner, through her demeaning routine: commuting in before daybreak, photocopying, printing, taking her male co-workers’ lunch orders, clearing up leftover pizza from the meeting room (as the men come in for the next meeting, she is humiliatingly caught with a crust in her mouth).

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Haifaa Al-Mansour: ‘Female leaders are crushed. Look at Hillary Clinton’

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The Saudi Arabian director directed her first film, Wadjda, hiding in the back of a van on the streets of Riyadh. Now her latest, The Perfect Candidate, is opening doors in Hollywood

Haifaa Al-Mansour’s latest film, The Perfect Candidate, opens with a doctor in her 20s driving to work. In any other film you wouldn’t register the fact that she’s behind the wheel. But this woman, dressed in a black abaya and niqab, is in Saudi Arabia, which until 2018 banned women from driving. Al-Mansour added the scene as a punch-the-air moment for female audiences in Saudi Arabia, an invite to a collective whoop of victory. “I know that in the west this seems like common-sense stuff,” she says. “But I think they’ve really helped women to see themselves as an independent people.” She fixes me with an earnest look, to see if I get it. “For younger professional women, it’s huge, because it gives them control over their destiny.”

Al-Mansour is Saudi Arabia’s first female director. In 2011, she shot her debut, Wadjda, hiding in the back of a van. It would have been impossible for a woman to be seen openly on the street giving orders to men. So, she kept out of sight and used a walkie-talkie (“But I’m sure you could hear my voice all over Riyadh. ‘Do that!’ ‘Pull the camera back!’”) The film was gorgeous, a funny, big-hearted story about a gobby 10-year-old girl who would stop at nothing to get her hands on a bike. Al-Mansour shrugged off the death threats (“One of them told me they had a coffin ready for me”). Spend five minutes in her company and you are struck by her optimistic energy.

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Immortal Hero review – silly vanity project made in bad faith

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The self-produced film by faith leader Ryuho Okawa is woefully misjudged and reveals the laughable reality behind Happy Science

Here’s a biopic about a world-changing faith leader, a man who has published 2,500 books – according to his website – including accounts of his seances with the ghosts of world leaders. (Available to buy on Amazon: Margaret Thatcher’s Miraculous Message – An Interview with the Iron Lady 19 Hours After Her Death.) If you’ve never heard him, Ryuho Okawa is the founder and CEO of Happy Science, a religious movement that claims to have 11 million followers worldwide; some call it a cult. Now Okawa has executive-produced a long and incredibly leaden drama about himself written by his daughter, Sayaka.

If you’re going to make a film about yourself called Immortal Hero, hiring an actor with knee-wobbling charisma should be your number-one priority. But lead Hisaaki Takeuchi plays a self-help author called Makoto Mioya – an obvious stand-in for Okawa – with a blank-faced and catatonic presence. When he’s rushed to hospital after a heart attack, Mioya is told he won’t make it through the night. But he miraculously cures himself with the power of his mind. It turns out that Mioya has been visited his entire life by celestial spirits (they look like flickering holograms from an 80s kids’ TV series). Now these spirits command him to fulfil his destiny as the chosen one by unifying world religions. So Mioya abandons the self-help racket and branches into the lucrative business of religion.

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Weathering With You review – thrillingly beautiful anime romance

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A runaway teenager falls for a mysterious ‘sun girl’ who has the power to stop the rain in Japan’s highest-grossing film of 2019

Makoto Shinkai, the Japanese anime director dubbed “the new Miyazaki” after the huge success of Your Name, his swooning YA body-swap romance set against the backdrop of a trippy natural disaster, returns with another apocalypse-tinged, boy-meets-girl adventure. Weathering With You, full of overcharged teenage emotion, was Japan’s highest-grossing film of 2019. Like Your Name, it’s thrillingly beautiful: Tokyo is animated in hyperreal intricacy, every dazzling detail dialled up to 11, but it’s less of a heartbreaker.

During the wettest rainy season on record in Tokyo, 16-year-old runaway Hodaka, homeless and hungry, arrives from the sticks. In a fast-food restaurant, teenage waitress Hina gives him a free burger, and two patches of red flush across his cheeks adorably. (The animation of first love, its highs and humiliations, is gorgeous.)

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The Cave review – horror and hope in a Syrian hospital battered by war

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This powerful, immensely moving documentary follows the courageous medical staff who must treat injured children as bombs fall around them

Feras Fayyad, the young Syrian documentary-maker who filmed Last Men in Aleppo (and was himself imprisoned and tortured by Bashar al-Assad’s regime), returns with a chilling, shaming film made over two years inside a Syrian hospital in Ghouta, the city besieged by the Syrian government for five years until 2018.

If there is a chink of hope here it’s Amani Ballour, the hospital’s manager, a paediatrician in her late 20s. “I know this life is tough. But it’s honest,” she says. Her deep sense of purpose is humbling – it carries her through hellish days treating dozens of bloodied and badly injured children. Her gentleness with patients is desperately moving, too.

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And the 2019 Braddies go to … Peter Bradshaw’s film picks of the year

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Ahead of the launch on Tuesday of the Guardian’s films of the year countdown, our critic selects his personal choice of the movies, directors and performances of 2019

• The Braddies are listed in alphabetical order, rather than ranked in terms of merit

Once again, the awards season comes to its climax with my “Braddies” for the calendar year, a selection of my personal awards that exists entirely independently of Guardian Film’s best-of-the-year countdown.

As ever, there are 10 “nominees” in 10 categories: film, director, actor, actress, supporting Actor, supporting Actress, documentary, cinematography, screenplay, directorial debut. There is also the single-entry nomination in the special category: quirkiest future cult classic most likely to beoverlooked by the boomer MSM establishment. The nominees are listed in alphabetical order and readers are invited to vote below the line for their preferred winner – and complain about omissions.

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Atlantics review – poetic Dakar love story

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A prosaic script lets down Mati Diop’s visually arresting, ghostly first feature

Although set in suburban Dakar, this beguiling debut feature from Mati Diop is a film that walks between worlds. The story is woven in the hinterland amid wealth and poverty, love and expediency, this life and the supernatural. It’s silkily enigmatic and unpredictable, and certainly unlike anything else you will see this year.

It took me a second viewing to engage with the tonal shifts of the story of Ada (Mame Bineta Sane), promised in marriage to a wealthy man, but who loves Souleiman (Ibrahima Traore), a construction worker who disappears at sea in search of a better life. Diop has a keen eye for a poetic image: the film opens with a shot of bustling streets dwarfed by the monstrous, looming haunch of a half-built tower. Later, there’s an achingly pensive shot of the sleeping quarters of the men who have left, their beds still rumpled from warm bodies; bottles of Victory aftershave primed for a night out that will never come. But the lyricism of the photography by Claire Mathon is not matched by the screenplay, which Diop co-wrote with Olivier Demangel and which seems rather flat and declamatory next to the eerie magic of the film’s gauzy light.

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Moffie review – soldiers on the frontline of homophobia

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Hidden passions add to the brutish hell of apartheid-era South African conscripts in Oliver Hermanus’s skilfully tense drama

Moffie, screening in the Orizzonti sidebar at Venice, is a tense, stealthy rites-of-passage drama from the dog days of South Africa’s apartheid regime, a tale of callow young conscripts inside a corroded old system. Set in 1981 during the country’s border conflict with communist-backed Angola, Oliver Hermanus’s film manages an unflinching portrait of a society in spasm; paranoid and brutish and largely screaming at itself. It’s a war story of sorts in which the battle has already been lost.

Kai Luke Brummer gives a fine performance as Nicholas, a willowy 18-year-old at a sun-blasted army boot-camp. Nick and his fellow soldiers are supposed to be fighting the enemy, but the only action they’re seeing is on the volleyball court, or the dorm, or sometimes in the toilet cubicle, much to the sergeant’s horror. The way the officers see it, the very worst thing a soldier can be is a “moffie”, an Afrikaans insult that the subtitles translate as “faggot”. “Moffie!” they scream – as though they regard homosexuality as a mad dog that has somehow got under the fence, or an invading swarm of wasps, liable to sting any man who isn’t properly covered up.

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Gaza review – heartfelt chronicle of life under political siege

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This sombre, angry documentary captures a sense of ordinary life in the strip bordered by Egypt, Israel and the sea

Garry Keane and Andrew McConnell’s heartfelt film about the unending misery of Gaza – now effectively a blockaded strip of land bounded by the Egyptian and Israeli borders and the Mediterranean Sea – has had a complex reception in some quarters since it premiered at Sundance earlier this year. Some have found it manipulative and politically reticent, in that it only fleetingly mentions Hamas, and includes footage of an Israeli bombardment but shows only stone-throwing as the response. There may be something in this. For instance, eyebrows have to be raised at the moment when an immobile child is shown with her eyes closed, we are encouraged to think she is dead but in a later scene she opens her eyes.

Yet the film has real value as a compassionate human document, in showing ordinary people who courageously have to keep going somehow, in the grimmest of conditions, in a world where, as someone puts it, there is a “wall between the people of Gaza and life itself”. A young woman practises the cello, a young man records rap tracks, a theatre director rehearses a performance piece, a fisherman broods over the oppression of his industry – they are not allowed to fish more than three miles out, and the amount of fish that can be caught so close to shore is pitifully meagre. The sea is what the people of Gaza face: the one boundary that does not seem so brutal, something that should conceivably be a source of comfort, but is almost as unforgiving as the land barriers. A sombre, angry film about a people under political siege.

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Die Tomorrow review – dates with death ripped from the headlines

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This ruminative collection of vignettes steeped in everyday reality was inspired by newspaper accounts of bizarre tragedies

Not a Bond film. In Damien Hirst’s celebrated creation, The Physical Impossibility of Death in the Mind of Someone Living was a tiger shark suspended in a tank. In this brief, ruminative piece from Thai film-maker Nawapol Thamrongrattanarit, that impossibility is something else – it’s the formaldehyde that the shark’s floating in, or that we’re all floating in, or it’s the banal glass tank itself, or it’s the people milling around the artwork in the gallery, peering at it, shrugging, and then leaving to get on with their day.

This feature is a collection of short stories or realist vignettes, based on or otherwise inspired by newspaper stories about tragic or bizarre deaths. A story about a female student killed by a truck that careered off the road – a woman who, just a few moments before, had been hanging out with her friends in a hotel room and had volunteered to step out to get beer – is dramatised with a simple scene showing the ordinary, undramatic, untragic hanging out: chatting, laughing. Later, a maid silently comes to clean the empty room.

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Matthias & Maxime review – Xavier Dolan’s heartfelt tale of male longing

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Two friends’ playful kiss rekindles suppressed feelings in a film swept along by rattling dialogue and simmering tensions

Xavier Dolan’s unstoppably garrulous, sweet-natured new movie is a coming-of-age film, or possibly an approaching-thirtysomethinghood film. Or perhaps it’s a portrait of a bunch of friends for whom things would never be the same again after that summer. It is not exactly a sexual awakening tale because the sexuality in question never really went to sleep. But it is a love story.

Related: Once Upon a Time ... in Hollywood review - Tarantino's dazzling LA redemption song

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The Miracle of the Sargasso Sea review – Lynchian psychodrama in the sun

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Criminal undercurrents in a sleepy Greek backwater provide the pretext for a disquieting spectacle of strangeness

A drumbeat of anxiety and impending violence thuds insistently from this opaque, disquieting spectacle from Greek film-maker Syllas Tzoumerkas – who has previously directed challenging films such as Homeland (2010) and A Blast (2014) and was screenwriter on the excellent male-midlife breakdown satire Suntan (2016).

Tzoumerkas’s movie goes out on a creaking limb of weirdness. It’s a bizarre, occasionally almost Lynchian film, alienated and alienating, interspersed – initially, at any rate – with dream-visions of biblical scenes in the burning sun. Its borderline preposterous narrative may simply be the pretext for its tableau of strangeness and bacchanal of dysfunction.

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Royals, rogues and Rudolf Nureyev: the best films of 2019

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Christian Bale plays Dick Cheney, Nicole Kidman goes undercover, Olivia Colman is Queen Anne and Timothée Chalamet gets addicted to meth

Dir: Yorgos Lanthimos
Olivia Colman excels as an emotionally wounded Queen Anne in a bizarre black comedy of the English Restoration court, directed by the Greek auteur Yorgos Lanthimos. It is based on the true story of two noblewomen creating a horribly dysfunctional love triangle by competing for the queen’s favours: Sarah, Duchess of Marlborough, and Abigail, Baroness Basham – played by Rachel Weisz and Emma Stone.
UK release date: 1 January

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