Stage: Double-pricked for Christmas

Pricked: Sleeping Beauty Got Woke
by Tim Benzie, Paul Joseph
dir Tim McArthur
music Aaron Clingham
with Grant Cartwright, Joseph Pollard, Lucy Penrose, Chantelle St Clair, Charlie Wood
Royal Vauxhall Tavern • 25.Nov.21-6.Jan.22

Shut down by the pandemic lockdown just a few days into its run in 2020, the riotously silly Pricked returns to the Royal Vauxall Tavern stage with a few timely story tweaks, swapped-out musical numbers and two new cast members. While LAST YEAR'S PRODUCTION felt fresh and absurdly funny, this year's show has a ramshackle charm that holds the attention based more on the sheer energy of the cast than anything else. And for me it had a whiff of deja vu that made it feel even more topical.

The tale of Sleeping Beauty gives the story its structure, although director Tim McArthur crafts it into a wonderfully deranged pub show that's definitely not for kids. Each scene is a performance, almost like an audition, as the characters introduce themselves and chat to the audience before performing a song or two, drawing on a range of musical theatre numbers and pop tunes. Updates for this year include bracingly current references to politicians and popular culture, plus an inspired, deliberately corny Abba reunion sequence.

It's still the story of Princess Aurora (Cartwright), who has been cursed by Maleffluent (Polland) to fall into a deep sleep on her 18th birthday. But Fairy Merryweather (Penrose) and a passing Prince (St Clair) intervene, plotting to rescue Aurora from Maleffluent and her conflicted sidekick Raven (Wood). None of these characters seem to have a clue what's going on around them, played amusingly by a gender-scrambled cast that continually questions the things written for them to do in the script. This includes getting impatient with the dream sequences and flashbacks that distract them along the way to the glorious holiday-themed wedding finale.

With boundless energy and considerable vocal skill, each performer dives into the wackiness, dropping in barbed asides and a continual stream of throwaway gags alongside the expected smut and innuendo. This means that quite a bit of dialog gets muffled in the mayhem, but the atmosphere is so bawdy and enjoyable that it never matters. And with lighter pandemic restrictions this year, the audience can more properly get involved with call-and-response moments, including lots of cheering, booing and singing along with the cast.

photos by Chris Jepson • 26.Nov.21

Critical Week: Winter is coming

Yes, the weather has taken a turn in London, still sunny but much colder, perfect weather for going to the cinema. And holiday movies are starting to turn up as well. But I also saw a few big movies this past week, including House of Gucci, which stars Lady Gaga and Adam Driver in a soapy story of conniving and murder, and it's all true. It's also hugely entertaining. Nicole Kidman and Javier Bardem play Lucy and Ricky in Being the Ricardos, Aaron Sorkin's smart and pointedly topical drama set around the landmark 1950s sitcom. It's rivetingly well-made, and a lot of nostalgic fun too. 

BEST OUT THIS WEEK:
Bad Luck Banging or Loony Porn
Encanto • House of Gucci
Annette • Rebel Dykes
ALL REVIEWS >

There were also two big animated features: Disney's Encanto is a charming, beautifully crafted bit of magic set in Colombia, while Sing 2 carries on the hilarious music-based antics of a group of animals as they take their show to the big time. I saw two British holiday-themed films: Aml Ameen's Boxing Day is a clever blend of traditional London romcom with a sharp depiction of the city's vibrant Caribbean subculture, while Silent Night is a black comedy starring Keira Knightley with a remarkably dark end-of-the-world edge to it. Less enjoyable was the sentimental drama Not to Forget, although its cast features ace Oscar-winning veterans Louis Gossett Jr, Cloris Leachman, Tatum O'Neal and Olympia Dukakis.

This coming week I'll be watching Javier Bardem in The Good Boss, Colin Firth in Operation Mincemeat, Noomi Rapace in Lamb, Stellan Skarsgard in Hope, the coming-of-age drama I Am Syd Stone and the Turkish drama Beyto.

Stage: Gods and monsters

AKRAM  KHAN COMPANY: CARNIVAL OF SHADOWS
Outwitting the Devil
choreographer Akram Khan
dramaturg Ruth Little
writer Jordan Tannahill
dancers Mythili Prakesh, Luke Jessop, Jasper Narvaez, James Vu Anh Pham, Elpida Skourou, Francois Testory
composer Vincenzo Lamagna
Sadler's Wells • 23-27.Nov.21

There's an intense mythological sensibility to this piece by Akram Kham, which features six dancers with distinct physicalities wrestling with their destiny on a set that feels like an epic arena. It's a vividly involving show that will mean different things to each audience member, evoking a wide range of emotions as the characters grapple with each other. The performances are staggering, blending a range of demanding movement together to often exhilarating effect.

The scene emerges from the darkness, with figures on an empty black stage surrounded by blocks of various sizes. This creates the sense that we're outside time and space, watching gods and goddesses attempting to make sense of their own identities and responsibilities. As the movements evolve, characters begin to emerge. Some people are clearly in control, driving the action and provoking responses. Others are more passive or nurturing. At the centre is a woman who takes on a Mother Earth presence, and the others cower before her.

Performed at full energy by the talented dancers, the movement is absolutely breathtaking, occasionally resolving into glorious tableaux that look like illustrations from an ancient book. And the soundscape is composed by Vincenzo Lamagna to blend music and voice in ways that cut straight into the gut. Created workshop-style, the piece mirrors the saga of the Sumerian hero Gilgamesh, who rescued a goddess, revolted against an overlord and defeated monstrous giants. Indeed, echoes of these legends are woven into the expressive choreography, which features flares of violence, compassion, lust and curiosity.

Like reading a poem or getting lost in an intricate painting, Outwitting the Devil is a piece that needs to wash over the audience without explanation. It's loaded with primal imagery that taps into the subconscious, revealing elements of humanity in strikingly unusual ways. It's also remarkable because of how difficult it is to describe in any real detail. Just see it if you get the chance.

photos by Jean Louis Fernandez • 24.Nov.21

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Young Associates: Mixed Bill

Lilian Baylis Studio, Sadler's Wells • 23-24.Nov.21

Landscape With Flying Man
choreographer-composer Magnus Westwell
movement artists Connor Scott, Konrad Plak, Max Cookward

Magnus Westwell plays with images of masculinity in this gripping and seductively sweaty piece, which features three very fit male dancers with bare chests spinning together and apart in various beams of light. They emerge at the start as a single being, perhaps as the body, mind and spirit of a bird-like man with what becomes an astonishing wingspan. Then they separate and regroup in different formations, working both together and against each other in deliberate, physically demanding movements that are beautifully choreographed and performed. And it's their interaction that creates moving moments along the way.

When Life Gives You Melons
choreographer Vidya Patel
dancers Aishani Ghosh, Tulani Kayanı-Skeef, Nandita Shankardass, Chandenie Gobardhan
composer Sarathy Korwar

Taking on a big theme, Vidya Patel uses an introductory film clip to comment on the issue of infanticide in South Asia, where boy babies are preferred over girls. Then four female dancers appear, pantomiming their daily activities to explore the feelings they are experiencing. As the performance continues, this evolves into increasingly complex choreography, emerging as a celebration of feminine energy, with a climactic view of women as goddesses. The narrative arc is vividly well crafted and played, mixing lyrical movement with clever lighting and sound to offer a powerful final kick.

I Wonder If You Know What I’m Talking About
choreographer Olive Hardy
dancers Annie Edwards, James Olivo
composer Samir Kennedy

There's an engaging loose-limbed feel to this piece, which Olive Hardy sets out as an improvised dance for two people with distinct physicalities. They travel around the stage in ways that feel aimless, only interacting tangentially; the kinetic Edwards uses sharp movements while the much taller Olivo remains rubbery. Each is in possession of some sort of cushion, which they wrestle with in a variety of ways, expressing emotion in unexpected places. It's physically impressive, a fascinating and unpredictable display of dancing skill. But thematically it feels rather opaque. 

This Is Not a Penguin
concept-creation John-William Watson
performers Beth Emmerson, Heather Birley

Taking inspiration from cinema, John-William Watson maintains a wonderfully witty tone in this piece, which has an offbeat narrative that's set in a research station in Antarctica. There a scientist and her shadow pace in circles around a desk and chair, using clever repetition to establish patterns and then break them. They also drop in amusing dance moves, which are performed with deadpan humour and augmented by some very clever shifts in lighting, including superb moments of shadow play. The soundtrack features a terrific variety of audio clips, including snippets from Werner Herzog's wonderfully unhinged Antarctica documentary Encounters at the End of the World.

photos by Camilla Greenwell • 23.Nov.21

Stage: The struggle is real

BLKDOG
dir Botis Seva
costumes Ryan Dawson-Laight
lighting Tom Visser
music Torben Lars Sylvest
with Jordan Douglas, Shangomola Edunjobi, Joshua Nash, Ezra Owen, Hayleigh Sellors, Victoria Shulungu, Naima Souhair
Sadler's Wells • 19-20.Nov.21

A staggeringly intense expression of emotions, this dance piece by Botis Seva leaves the audience both shaken and exhilarated. It unfolds as a carefully assembled explosion of movement, light and sound, reverberating with the helpless feeling that the world around us is a dangerous place. But it's also infused with the hopefulness that comes with love, acceptance and mutual support. It's a proper stunner that demands a lot of both the dancers and the audience.

Emerging from the darkness are seven performers with their heads covered in hoods. They often face upstage, so seem eerily anonymous as they move in ways that look physically taxing, precisely in tune with each other as the choreography cleverly uses echoing and mirroring to force the eye across the stage. Along with a churning score that features snippets of voices, the lighting is integral to this as well, isolating people, cutting them out of the group, using the inky blackness as effectively as a spotlight.

As the programme continues, events take place that are heart-stopping in the way they're performed, with the dancers spiralling into situations that are reminiscent of street protests, storming the capital and rioting in prison. There are also quiet moments of more positive interaction. And along the way, a series of chilling deaths are brilliantly performed in inevitable slow-motion. Seva's choreography is kinetic and razor sharp, constantly surprising in the way it pushes the dancers to their limits.

The movement is seriously impressive, simply because it's so complex and difficult, punctuated by the pulsing soundscape and light design. But it's the way the emotions churn up throughout the piece that pulls the audience in deeply. So as the dancers shed pieces of clothing, or emerge with props that are inventive and even witty, we become invested in a depiction of human resilience in times of violence, illness or domestic turmoil. So at the end, when they finally lose their hoods and reveal their faces, we see ourselves on stage with them.

Rehearsal photos by Camilla Greenwell • 19.Nov.21

Critical Week: The eyes have it

Screenings are beginning to crank up as awards season begins. I'm a member of three groups of critics that give out year-end awards, and there are quite a few films I still need to catch up with before ballots are due, starting in mid-December. I managed to see one this week, the biopic The Eyes of Tammy Faye, adapted from a favourite documentary of mine (from 2000), now starring Jessica Chastain and Andrew Garfield as tele-evangelists Tammy and Jim Bakker. Even if it feels a bit satirical, it's a strikingly well-made, even-handed film with a strong emotional kick. Samantha Morton stars in the Welsh comedy-drama Save the Cinema, based on a true story about a community trying to save their local theatre, with a little help from Steven Spielberg. It's perhaps too warm, but thoroughly engaging.

BEST OUT THIS WEEK:
The Power of the Dog • The Feast
Petite Maman • C'mon C'mon
Bad Luck Banging or Looney Porn
Kurt Vonnegut: Unstuck in Time
PERHAPS AVOID:
Hide and Seek
ALL REVIEWS >

Jonathan Rhys Meyers stars in Hide and Seek, a thriller remade from a Korean movie. It's slick, but seems to have lost much of its oomph in the translation. Celine Sciamma continues to surprise with the wonderful Petite Maman, an inventive look through a young girl's curious eyes. The Spanish drama Isaac bristles with nostalgia in a knowing story of old friends reconnecting. And the documentary Kurt Vonnegut: Unstuck in Time unpicks the life of one of my favourite authors with lots of wit and some seriously amazing archival footage, plus the personal story of a long friendship.

Coming up this week, I'll be watching Nicole Kidman in Being the Ricardos, Lady Gaga in House of Gucci, Keira Knightley in Silent Night, Lea Seydoux in France, Disney's animated musical Encanto, the animated sequel Sing 2, the double collection of shorts The French Boys and the Nazi legacy doc Final Account. I also have a few stage shows to watch.

Stage: A riotously rude treat

Dick Whittington: A New Dick in Town!
by John Bradfield, Martin Hooper
songs John Bradfield
dir Andrew Beckett
with Jonny Peyton-Hill, Matthew Baldwin, Keanu Adolphus Johnson, Nikki Biddington, Bradley Walwyn
Above the Stag, Vauxhall • 2.Nov.21 - 16.Jan.22

It seems impossible that writer Martin Hooper and writer-composer John Bradfield have missed a single gag in this fabulously naughty pantomime, which updates the legend of London's iconic 14th century mayor into the riotously queer present day. Everything about this adult-aimed production is firing on all cylinders, including the innuendo-stuffed dialog, catchy songs, ceaselessly up-for-it performances and superbly inventive sets. Often painfully funny, the show also carries a wonderful emotional kick.

It's the tale of hopeful young Dick (Peyton-Hill), who arrives in London not with a cat but a sassy Insta-star Frenchie named Ariana. But his fashion career is cut abruptly short. Then he meets street-smart Alex (Johnson), who is earning a crust selling generic Covid vaccines and believes that he is the Spirit of London. Alex's undertaker father Fitzwarren (Walwyn) is also taken by Dick, which explains why he's ignoring his wife Sarah (the great Baldwin, in his seventh Above the Stag panto). Meanwhile, Queen Rat (Biddington) is determined to be elected London's next mayor, chasing the action to a Mediterranean island where Fitzwarren's much livelier twin brother (also Walwyn) holds the key to everyone's fate.

Biddington, Johnson,
Peyton-Hill and Baldwin

Comical touches spring from every direction, including broad slapstick, witty wordplay, wacky character details and random asides. Almost every joke elicits a big laugh, while the songs are also packed with cleverly playful lyrics that are both ridiculous and instantly evocative, such as a celebration of going on holiday and ordering dinner from an illustrated menu. Of course, the title character's name is the main source of double entendre, accompanied by timely jabs at everything from politics to pop culture.

Each of the five cast members is on scene-stealing form, although it's Baldwin's impeccable timing and quick-witted improvisational skills that shine the brightest. As the show's dame, he's loveable and outrageously hilarious, constantly injecting deranged rhyming slang amid a wildly colourful parade of costumes. Biddington's villain adeptly channels rock-goddess mayhem as she creates constant chaos. And Walwyn's dual role is hugely amusing even before the brothers have their enormous confrontation, a genius combination of clever direction and sharp-witted acting. Which leaves the endearing Peyton-Hill and Johnson to infuse the show with heart and soul. And even more ribaldry.

Biddington and Walwyn

This is a relentlessly rude show that's refreshingly unafraid to go for the smuttiest joke imaginable, maintaining an unusually high energy level from start to finish. It's inventive and unexpected, beautifully staged with eye-catching video-augmented sets that vividly create atmospheres from rat-infested sewers to a sun-drenched paradise. And it's the perfect tonic for pulling us out of our pandemic funk just in time for the holidays.

For details: ABOVE THE STAG

10.Nov.21

Critical Week: We need a hug

After a film festival, I enjoy things quieting down a bit. But we're now in awards season, which means that the for your consideration screenings have started up. At least this means that movies are generally of a much higher quality than usual. So it's the weekly releases that bring us back to earth and remind us what the public is more used to watching than fabulous foreign masterpieces. Speaking of which, I watched Pedro Almodovar's latest festival darling Parallel Mothers, a glorious melodrama about mothers and daughters that has witty and darkly emotional elements, plus a hint of Hitchcockian intensity. And at the centre, Penelope Cruz is fantastic.

BEST OUT THIS WEEK:
Mothering Sunday • Belfast
Keyboard Fantasies
PERHAPS AVOID:
Cry Macho • Red Notice
ALL REVIEWS >

I also enjoyed the retro joys of Ghostbusters: Afterlife, a nearly 40-years-later sequel that includes cameos from the original cast alongside a likeable new ensemble led by Finn Wolfhard, Carrie Coon and the irresistible Paul Rudd. Ryan Reynolds and Dwayne Johnson are also fairly irresistible, but their new action comedy Red Notice is so derivative and lazy that it's hard to like. Tom Hanks is as great as always in Finch, a watchable post-apocalyptic drama that feels somewhat underpowered. And Clint Eastwood's waning steely charisma helps make Cry Macho bearable because its script is frankly awful.

A bit off the beaten track, Joaquin Phoenix is relaxed, warm and wonderful opposite staggeringly gifted young newcomer Woody Norman in the gently comedy-drama C'mon C'mon. Richard Jenkins, Amy Schumer and Steven Yeun shine among the excellent six-person cast of The Humans, a stagey drama that roots around in the concept of being a family in America. And the engagingly bristling German drama Blurred Lines sends its two energetic teen protagonists on a momentous trip to Istanbul.

This coming week, I'll be watching Jessica Chastain in The Eyes of Tammy Faye, Andrew Garfield in Tick Tick Boom, Jonathan Rhys Meyers in Hide and Seek, Spanish romance Isaac, Celine Sciamma's Petit Maman and the doc Kurt Vonnegut: Unstuck in Time.

Stage: An offer you can't refuse

Indecent Proposal
book/lyrics Michael Conley
composer Dylan Schlosberg
dir Charlotte Westenra
with Norman Bowman, Lizzy Connolly, Ako Mitchell, Jacqueline Dankworth, Eve De Leon Allen, Connor Going, Olivia Thompson, George Readshaw, Liam McCloud
Southwark Playhouse • 23.Oct-27.Nov.21

Connolly and Bowman

Adapted from the Jack Engelhard novel while carrying the memory of the 1993 Robert Redford movie, this rather odd musical never quite slots into gear. The story is compelling, there are some beautiful songs, and each performer finds moments of real resonance, but it's too dour and uneven to properly engage the audience. And it doesn't help that the writing never digs deep enough into the characters, while the direction makes it almost impossible to properly see the actors.

It's also a problem that the story is told from the wrong point of view, which surely this new production could have corrected. It centres on Jonny (Bowman), a struggling cabaret singer in Atlantic City happily living in poverty with his wife Rebecca (Connolly), who is working two jobs herself. Then they meet famed billionaire Larry (Mitchell), whose plan to restart his record label appeals to Jonny. But he instead offers the couple $1 million to spend the night with Rebecca, creating a moral dilemma that will have echoing repercussions.

Mitchell and Bowman

Anna Kelsey's sets cleverly place the action in a rather down-at-heel casino bar, which inventively transforms into Jonny and Rebecca's dismal flat. The audience encircles the space, which is a problem whenever scenes are played on the floor, as the actors don't move around enough to keep faces in view. In most scenes, two thirds of the audience can only see the back of someone's head obscuring both themselves and the person they're talking to.

All but two songs play out on the stage as performance pieces, which is a nice touch even if it gets repetitive, and the odd dance of multiple microphone stands is distracting. Several numbers include soaring refrains that allow the actors to show their skills. Bowman's signature tune Next to Nothing is lovely (if a bit ubiquitous), and both Mitchell and Dankworth, as the sardonic hostess, have terrific songs of their own. Each performer is solid, maintaining a vivid sense of the character's inner life even when the underwritten book and loose directing style let them down. Particularly notable is Bowman's depiction of Jonny's wrestling match with his own masculinity. And Connolly conveys the brassy Rebecca's shifting emotions with skill.

Bowman and Connolly

But there are a couple of bigger problems with this show. First, it's told through Jonny's eyes, which is the wrong perspective. The moments when Rebecca takes centre stage are far more relevant and resonant, but she's sidelined in the climactic moments. The notable exception is the couple's big confrontation, but even this clash feels oddly inadequate. As a result, everything is oddly bleak right from the start, badly in need of a stronger infusion of Rebecca's optimism. This may add some realism to the story, but it makes it difficult for us to care where it goes.

Bowman, Dankworth and the band in a dream sequence

Photos by Helen Maybanks • 2.Nov.21
(originally posted 2.Nov.21)

Raindance: Shall we dance

The 29th Raindance Film Festival came to a close last night with a screening of the Brazilian freak-out Medusa, followed by a party. It's been another terrific season of independent films, this year screened at cinemas around London. Although I've mainly watched the films at home using the press site. Since I didn't have to travel to screenings, I was able to watch several more films than expected. Here are some final highlights, including two of my favourites. And the awards winners are at the end...

My Heart Goes Boom! [Explota Explota]
dir Nacho Alvarez; with Ingrid Garcia-Jonsson, Veronica Echegui 20/Sp ****
Using the songs of iconic Italian singer Raffaela Carra, this brightly colourful Spanish musical is irresistible. Filmmaker Nacho Alvarez infuses a swooning romantic farce with a continual flow of witty touches. And it's knowingly underscored by punchy topical themes. While the film is perhaps is a bit overlong, it maintains a breezy tone that keeps the audience smiling, complete with a series of delightfully energetic musical numbers... FULL REVIEW >

The Pop Song
[La Cançó Pop]
dir-scr Raul Portero; with Raul Portero, Joan Carles Suau 21/Sp ****.
Shot in an experimental style, this intimate comedy-drama is a remarkable depiction of the way life impacts friendships. A collection of short, sharp scenes sometimes captured in single long takes, the film is packed with knowing observations. Actor-filmmaker Raul Portero has a terrific eye for detail, infusing moments with knowing wit that balances the deeper emotions. It's a moving, beautifully textured look at powerful feelings everyone can recognise... FULL REVIEW >

The Drowning of Arthur Braxton
dir Luke Cutforth; with James Tarpey, Johnny Vegas 21/UK ***
Delving into the mind of a teen overwhelmed by life, this British drama uses fantasy and horror to add intriguing angles to the story. The film is nicely directed by Like Cutforth, using vivid visual touches to get under the surface of the characters. As a broader mythology begins to take shape, everything gets a bit overwrought, putting perhaps too much spin on the more involving internalised angles... FULL REVIEW >

The Noise of Engines
[Le Bruit des Moteurs]
dir-scr Philippe Gregoire; with Robert Naylor, Tanja Bjork 21/Can ***.
Cleverly shot with a witty, almost absurd sensibility, this bold Canadian drama continually plays with audience perceptions. Writer-director Philippe Gregoire adds a range of twists throughout the story that keep us on our toes, unable to predict where things are headed. And underneath the sometimes nutty surface, the film continually challenges us as it grapples with how officials seem to be determined to know our most personal secrets... FULL REVIEW >

RAINDANCE AWARD WINNERS 2021

• International Feature: MEDUSA
• UK Feature: THE DROWNING OF ARTHUR BRAXTON
• Documentary: WHITE NOISE
• Music Documentary: I'M WANITA
• Director: Luana Bajrami (THE HILL WHERE LIONESSES ROAR)
• Screenplay: Renata Pinheiro, Sergio Olivera, Leo Pyrata (KING CAR)
• Performance: Lucia Moniz (LISTEN)
• Cinematography: Sam Levy (MAYDAY)
• Discovery: Luana Bajrami (THE HILL WHERE LIONESSES ROAR)
• Raindance Icon: Michael Caine

Full reviews of festival films are linked at Shadows' RAINDANCE HOMEPAGE 
For full festival information, visit RAINDANCE FILM FEST 

Raindance: Making movies

The 29th Raindance Film Festival is heading into its final weekend in London, as audiences get a taste of independent films that are often unlikely to turn up in either cinemas or streaming sites. I'm still watching the films online, but have been meeting filmmakers at the House of Raindance social space as well. My usual weekly routine continues amid the festival, so it's covered below. But first a few more Raindance highlights...

The Rossellinis
dir Alessandro Rossellini; with Alessandro Rossellini, Isabella Rossellini 20/It ***.
There's an offhanded honesty to this documentary, in which Alessandro Rossellini explores his sprawling family and the meaning of his famous grandfather's legacy. Key film clips and extensive archival footage are included that tellingly explore layers of family history. But the filmmaker's goal is to reveal stories that have never been told and find the defining factor that keeps him so closely connected to his aunts, uncles and cousins... FULL REVIEW >

King Car [Carro Rei]
dir Renata Pinheiro; with Luciano Pedro Jr, Matheus Nachtergaele 21/Br ***.
Blackly comical and wildly outrageous, this satirical Brazilian thriller plays on the idea that cars have consciousness and would change the world if they could communicate with humanity. While set in the present, filmmaker Pinheiro cleverly evokes a 1980s vibe, including a terrific Christine-meets-Knightrider kick as the story spins into an epic battle against government oppression. And there are several even more bonkers elements to the story as well... FULL REVIEW >

Against the Current
dir Oskar Pall Sveinsson; with Veiga Gretarsdottir, Gretar S Petursson 20/Ice ****
Beautifully shot in spectacular locations, this introspective documentary traces a daring physical challenge. And as a trans woman, Velga Gretarsdottir's life has been full of challenges. The movie doesn't shy away from bleak elements of her life, but it maintains a sense of positivity, facing each obstacle with dignity and tenacity. Filmmaker Oskar Pall Sveinsson keeps the tone earthy and warm, celebrating a woman who has never followed the crowd... FULL REVIEW >

Zip It
dir-scr Anicee Gohar; with Mohanad "Kojak" Aglan, Nabila Yassin 21/Egy ****
This documentary about rising star Egyptian fashion designer Kojak takes on the thorny issue of being a queer artist in the Middle East with openness and honesty. Filmmaker Anicee Gohar vividly captures Kojak's energy and style, including lots of glitter and glamour. Even at just an hour long, this film provides a remarkably complex portrait of a bright young designer who is quietly determined to change his harshly proscriptive culture.

Full reviews of festival films will be linked at Shadows' RAINDANCE HOMEPAGE 
For full festival information, visit RAINDANCE FILM FEST 

~~~~~~~ ~~ ~~~ ~~~~
C R I T I C A L    W E E K

BEST OUT THIS WEEK:
The Card Counter • Beans
The Beta Test • A Cop Movie
ALL REVIEWS >

Non-festival films I caught up with this week include Chloe Zhao's Marvel epic Eternals, which has a fantastic ensemble cast led by Gemma Chan and some lovely character touches, but is disappointingly dense and effects-laden. Josh O'Connor and Odessa Young are terrific in the British period drama Mothering Sunday, which is unusually sexy for the genre. The British comedy Pirates bristles with energy even if it feels silly. Paolo Sorrentino's The Hand of God is a gorgeously autobiographical coming-of-age drama. And the shorts collection The Male Gaze: Celluloid Dreams features a remarkable set of vintage films about masculinity and sexuality.

This next week, in addition to Raindance films, I'll be watching the reunion sequel Ghostbusters: Afterlife, Almodovar's Parallel Mothers, Ryan Reynolds in Red Notice, Tom Hanks in Finch and Clint Eastwood's Cry Macho.

Raindance: Give us a kiss

The 29th Raindance Film Festival continues to play out around London, showcasing a wide range of truly independent films from around the world. I've mainly been watching virtually this year, although I hope to attend some screenings in-person over the coming days if possible. In the meantime, here are some more highlights...

Miguel's War
dir-scr-prd Eliane Raheb; with Miguel Jelelaty, Eliane Raheb 21/Leb ****
Relentlessly inventive, this lively and often very funny documentary is a snappy portrait of a man who finally feels ready to accept his roots, which stretch in a range of directions. Filmmaker Eliane Raheb cleverly uses interviews, archive footage, hilarious reenactments and animation to reflect Miguel Jelelaty's enormous personality and fascinating journey through life. With constantly surprising touches, the film is hugely entertaining, and powerfully involving too.

A Bird Flew In
dir Kirsty Bell; with Jeff Fahey, Kirsty Bell 21/UK ***.
With a gentle tone that mixes in humour and emotion, this British drama tells several inter-connected lockdown stories. Shot in striking black and white, the film looks great and features a fine eclectic cast. Many scenes are heightened with a poetic sensibility, which adds an artistic touch that's more deliberate and sometimes feels indulgent. But the situations depicted have an involving quality that is easy to identify with.

Listen
dir Ana Rocha De Sousa; with Lucia Moniz, Sophia Myles 20/Por ****
Quietly observational, this astute London-set drama captures the situation for people who are squeezed by a system that claims to offer help but is actually making life horrifically difficult. Director Ana Rocha De Sousa tells the story unflinchingly, allowing the audience to vividly see both the truth and the injustice. And the situation that plays out is utterly unthinkable. So the film carries a powerfully emotional gut punch.

In the Mirror
dir-scr Laila Pakalnina; with Madlena Valdberga, Elza Leimane 20/Lat ***.
With characters filming themselves selfie-style, this black-and-white Latvian satire gives the Snow White fairy tail a snappy spin. The film is a riot of witty touches, played in a deadpan style that never goes for the obvious laugh. Indeed, much of the film is silent, framing social media-style clips as old-time movie scenes. Much of this is properly nuts, so even if the pacing feels uneven, it's always entertaining.

Full reviews of festival films will be linked at Shadows' RAINDANCE HOMEPAGE 
For full festival information, visit RAINDANCE FILM FEST