Monday 18 March 2024

BFI Flare: Sing it loud

The 38th BFI Flare heads into the week with a continuing flurry of screenings and events. Over the weekend it was great fun to hang out with actors and filmmakers who are in town to present their films. The post-screening Q&As have been lively, revealing how important these movies are as they are appreciated by such a wide range of people in the audience. And of course films with a British connection get even more audience love, with round of applause for each cast and crew member. Or in the case of the Merchant Ivory doc, post-film selfies with the likes of Helena Bonham Carter, Greta Scacchi, James Wilby, Rupert Graves, Natasha McElhone and many more. Here's another set of highlights...

Unicorns
dir Sally El Hosaini, James Krishna Floyd; with Ben Hardy, Jason Patel 23/UK ****
With a sometimes dreamlike sensibility, this British drama follows two young men who are struggling to make sense of their lives, and may find the answer together. Directing alongside screenwriter James Krisna Floyd, Sally El-Hosaini maintains an optimistic but clear-eyed and honest tone, even as the film takes on some big issues in a situation that feels impossible. It's also remarkably sympathetic to its very different central characters... FULL REVIEW >

Riley
dir-scr Benjamin Howard; with Jake Holley, Colin McCalla 23/US ****
Earthy authenticity infuses this warm drama, as writer-director Benjamin Howard knowingly captures the pervasive masculinity in sporting culture, which expresses itself in ignorant homophobia. He also gets into the mind of a teen athlete grappling with his sexuality. As the drama gets increasingly serious, the film grabs hold powerfully. So even if things begin to turn a bit melodramatic, there's truth in the way the story plays out... FULL REVIEW >

Hidden Master:
The Legacy of George Platt Lynes
dir Sam Shahid; with Bernard Perlin, George Platt Lynes II 23/US***.
Essentially making the case that photographer George Platt Lynes deserves a place in art history, this well-researched documentary recounts his career with eye-opening detail. Director Sam Shahid spent a decade compiling the interviews and hunting down archival material that fill this movie to overflowing. And Lynes' stunning images gain meaningful context through the fabulous first-hand anecdotes about a little-known but hugely influential segment of the art world from the 1930s to the 1950s. 

Merchant Ivory
dir Stephen Soucy; with James Ivory, Ismail Merchant 24/US ***.
Beautifully assembled with extensive interviews and film clips, this engaging documentary takes thorough look at the team behind the eponymous game-changing production company best known for its 1980s period dramas. As this story unfolds, filmmaker Stephen Soucy unearths some eye-opening things about the film industry and society at large. This is both a story about moviemakers who work outside the system, making first-rate projects against the odds, and an involving account of a decades-long love story that has never been told before. 

B E S T    O F    Y E A R
Bottoms
dir Emma Seligman; with Ayo Edebiri, Rachel Sennott 23//US ***
Both broadly silly and thematically pointed, this high school comedy moves at a brisk pace through a plot that's laced with absurdity. But the satire is cleverly grounded in big issues and emotional resonance, which makes even the silliest gags hilarious. Director-cowriter Emma Seligman gleefully pushes the characters and story right to the edge. So even as the transgressive nastiness takes over, the film has plenty of heart... FULL REVIEW >

Full reviews will be linked on Shadows's BFI FLARE PAGE >
For festival information, BFI FLARE >

Sunday 17 March 2024

Dance: Dazzling sights and sounds

Company Wayne McGregor
direction and choreography Wayne McGregor
dancers Winnie Asawakanjanakit, Rebecca Bassett-Graham, Naia Bautista, Jordan James Bridge, Chia-Tu Hsu, Hannah Joseph, Jasiah Marshall, Salomé Pressac, Salvatore De Simone, Mariano Zamora Gonzalez
dramaturgy Uzma Hameed
Sadler's Wells, London • 12-16.Mar.24

The almost absurdly talented, groundbreaking Company Wayne McGregor returned to Sadler's Wells in March with two shows...

Wayne McGregor’s Autobiography (v95)
music Jlin • set Ben Cullen Williams
lighting Lucy Carter • costumes Aitor Throup
★★★★★

Each performance of this piece is different, as a selection of 23 individual segments are sequenced by an algorithm based on McGregor's own DNA sequence. So the overall show takes on different shapes and moods as the production progresses. The choreography is physically demanding, and the dancers perform this with an astonishing liquidity under a suspended lighting rig. As the show progresses, there's a powerful sense of yearning and breathlessness, which makes the performance forward-looking and literally alive.

Each piece is distinct, made up of solos, duets and group numbers that are eye-catching and powerfully involving. Movement echoes and confronts, responding and breaking out, continually finding new expressions in specific settings and roles. The music is a mix of instruments, sounds and rhythms that vary the mood and propel the action, often with a rumbling bass that vibrates the audience's bones. Meanwhile, changing lights, costumes and smoke add distinctive touches to each piece.

McGregor's choreography has a floaty sensibility that's often dazzling, smoothly combining modern and classical movement. It's so physically expressive, that the pieces seem to bleed into each other. Highlights include the arena-like Instinct, with its almost martial arts sensibility; World, with some stunning back-lighting trickery; and Sleep, as the ceiling frame drops to the floor while the dancers crawl underneath. Along the way, there are moments of romantic swooniness, arch posturing and dreamy sensuality. Some of it is fast and powerfully energetic, other segments are slow and meditative. And because of the way each performance is assembled, you can never see the same show twice.

photos by Ravi Deepres • 12.Mar.24

UniVerse: A Dark Crystal Odyssey
music Joel Cadbury • film design Ravi Deepres
lighting Lucy Carter • costumes Philip Delamore, Alex Box
spoken word artist Isaiah Hull
★★★★

Based on the 1982 Jim Henson film, this fantastical tale unfolds with fairy tale imagery and technical wizardry. It's an immersive, haunting saga, with big ideas about good and evil and a strong sense of ecology. While following the plot itself is virtually impossible, this is a show that washes over us with often spectacular stagecraft, a skilful combination of movement, music, costumes and projections. It's a gorgeous shifting tale that becomes mesmerising and hypnotic as it shimmers and prowls through sometimes jarring tonal shifts.

The show opens with an extended film clip, a fish-eyed exploration of a cluttered library that hints at the folklore and legends that will swirl throughout what follows. When dancers take the stage, they are joined by a gigantic 3D projected teleporting fish that looks very cool indeed. This interaction between projections and performance continues. And the costumes add to the atmosphere, often covering the performers' faces, evoking images of iconic figures or altering their physicality. The choreography is athletic and often acrobatic, creating lovely shapes and emotional intent.

The soundtrack features an elaborate musical mix, plus spoken word pieces exploring climate change themes. All of this combines in a way that's seriously impressive, especially the visual audacity in the lighting, colour and iconography. And these gifted performers throw themselves into each scenario with expressive abandon. So even if it begins to feel a bit random and impenetrable, there's so much beauty in both their solo turns and their interaction with each other that we can't look away.

For information, SADLER'S WELLS >

photos by Andrej Uspenski • 15.Mar.24

Saturday 16 March 2024

BFI Flare: Dance the night away

The 38th edition of the British Film Institute's Flare: London LGBTQIA+ Film Festival heads into its first weekend with a flurry of special screenings and guest actors and filmmakers. I'll be chatting with quite a few of them over the next couple of days, plus a number of Q&As alongside screenings. There aren't many film festivals left that allow audiences and moviemakers to mix, and this one sometimes feels like it's slipping away, as it begins to feel more corporate each year. But there's still some life and sass left at BFI Southbank, so if you can get there, it's worth the time. And the movies have been notable this year. There's a strong presence from Canada in the highlights here..

Crossing
dir-scr Levan Akin; with Mzia Arabuli, Lucas Kankava 24/Geo ****
After his moving drama And Then We Danced, Swedish-Georgian filmmaker Levan Akin continues to explore society's margins with this involving story set in the persecuted trans subcultures of Georgia and Turkey. Bracingly observant, this humane film tackles big issues with unusual sensitivity, refusing to focus on harsher aspects of life for people simply trying to exist in a place that rejects them. So the film is engaging, uplifting and important... FULL REVIEW >

Close to You
dir Dominic Savage; with Elliot Page, Hillary Baack 23/Can ***
Shot improv-style, with intensely intimate camerawork, this Canadian drama relies on the strong presence of Elliot Page as a young man confronting his connections with his family and lingering feelings for an old flame. Director Dominic Savage finds moments of honest insight within scenes that are continually heightened by conflict. This allows the actors to play emotional scenes with unusual nuance, but it also leaves the film feeling somewhat meandering and indulgent.

Backspot
dir DW Waterson; with Devery Jacobs, Evan Rachel Wood 23/Can ***
Centred around teen cheerleaders, this Canadian drama has plenty of punchy energy in its handheld camerawork, raucous song score and high-energy acrobatics. And the cast is excellent. But the writing and direction leave little space for the audience to get involved, as every thought and feeling is carefully chosen and depicted without nuance. Still, there are moments when we can identify with the characters, and the larger themes are vivid... FULL REVIEW >

We Forgot to Break Up
dir Karen Knox; with Lane Webber, June Laporte 24/Can **.
There's a strong mix of musical and visual sensibilities in this Canadian period drama, which traces the life of a high school band into the big time. Oddly, there's the feeling that this was written to a screenplay formula, rather than capturing firsthand experience of real life, so all of the characters and plot points feel constructed. This makes it tricky to engage with either the people or their story, as it feels cinematic rather than authentic. But the larger themes running through the film make it worth a look.

B E S T    O F    Y E A R
All of Us Strangers
dir-scr Andrew Haigh; with Andrew Scott, Paul Mescal 23/UK *****
Like Weekend's more challenging big brother, this contained British drama from Andrew Haigh uses incisive storytelling to explore connections in a fractured society. He shoots it in his usual bracingly naturalistic style, this time augmenting the story with a surreal sensibility that draws on the creative process itself. And it's beautifully played by a focussed, invested cast. This is a gently involving, darkly personal film that carries a massive emotional wallop... FULL REVIEW >

Full reviews will be linked on Shadows' BFI FLARE PAGE >
For festival information, BFI FLARE >

Thursday 14 March 2024

BFI Flare: Be yourself tonight

One of my favourite festivals each year, the 38th edition of the British Film Institute's Flare: London LGBTQIA+ Film Festival kicked off last night with the European premiere of Layla. Over the next 10 days, BFI Southbank is transformed into a lively space with a range of events, club nights and conversations alongside screenings of some of the most diverse movies on earth. Many of these films are impossible to see anywhere else, so I always look forward to discoveries. And it's also fun to reconnect with the gang of "Flare Friends" who gather annually to celebrate this important aspect of the industry. Here's the first collection of highlights, with my usual Critical Week report down below...

Layla
dir-scr Amrou Al-Kadhi; with Bilal Hasna, Louis Greatorex 24/UK ****
With wonderfully loose authenticity, this breezy British drama hones in on the often contradictory nature of being human. Writer-director Amrou Al-Kadhi refreshingly resists creating characters who are easy to pigeon-hole, and the situations don't resolve themselves in the tidy ways we have grown to expect on-screen. Instead, the film has some strong things to say about how our self-image is a key factor in our work and relationships. And even more importantly, it's a relentlessly charming movie.

The Summer With Carmen
dir Zacharias Mavroeidis; with Yorgos Tsiantoulas, Andreas Labropoulos 23/Gr ****
An astutely written and directed meta comedy about the nature of filmmaking, this Greek film playfully pokes fun at both itself and low-budget queer movies. Multiple layers of narrative feed together inventively to explore family relationships, friendships, romance, lust and even pet ownership for a group of 30-something guys. And as it knowingly grapples with issues of loyalty and masculinity, the film is warm, funny and very sexy... FULL REVIEW >

Silver Haze
dir-scr Sacha Polak; with Vicky Knight, Esme Creed-Miles 23/UK **.
Beautifully shot like an artful fly-on-the-wall doc and played with remarkable authenticity by a fresh cast, this film is watchable as an observant slice of life. Writer-director Sacha Polak captures the rhythms of British working class situations with plenty of energy, although the plot is so slim that this could have been an effective 20-minute short. There's also a problem with the naturalistic dialog, which is difficult to hear... FULL REVIEW >

Calls From Moscow
dir Luis Alejandro Yero; with Dariel Diaz, Daryl Acuna 23/Cub ****
Shot fly-on-the-wall style, this sharply well-made film follows the lives of four young Cuban men who are living in limbo in wintry Moscow. They have travelled there with hopes of bettering life for themselves and their families back home by hopefully moving into the European Union. But they're stuck here without documents, and being queer in Russia isn't easy. Filmmaker Luis Alejandro Yero takes an unusually artful approach, revealing inner feelings  through overheard conversations, music and silence.

Chasing Chasing Amy
dir Sav Rodgers; with Sav Rodgers, Kevin Smith 23/US ***.
Kevin Smith's 1997 comedy Chasing Amy stars Ben Affleck as a comic writer who falls in love with a lesbian played by Joey Lauren Adams. It's been considered problematic for its gender politics, but filmmaker Sav Rodgers found it inspiring because of its honest depiction of openly queer people. So he made this documentary both to say thank you and to understand why the movie generated so much controversy... FULL REVIEW >

Full reviews will be linked on Shadows' BFI FLARE PAGE >
For festival information, BFI FLARE >

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

Outside the festival, I also watched Sydney Sweeney as a nun in the delightfully gruesome and camp horror thriller Immaculate; Bill Skarsgard in the mayhem-packed hyperviolent action comedy Boy Kills World; Cate Blanchett as a nun in the gorgeous, powerfully involving Aussie drama The New Boy; Caleb Landry Jones in Luc Besson's enjoyably bonkers but somewhat empty thriller Dogman; Emile Hirsch in the rather messy a psychological thriller State of Consciousness; and the complex, delightful queer romance Glitter & Doom. Live on-stage, there was the gifted New York City Ballet at Sadler's Wells, pointed drama Blue at Seven Dials Playhouse, and Company Wayne McGregor's fascinating Autobiography at Sadler's Wells.

Coming up this week are the blockbuster sequel Ghostbusters: Frozen Empire, Australian drama Limbo, Irish drama Baltimore. On stage at Sadler's Wells, there's UniVerse, a second Wayne McGregor show, as well as the medieval re-enactment performance Assembly Hall.

Sunday 10 March 2024

Stage: What really happened?

Blue
by June Carryl
director Michael Matthews
with June Carryl, John Colella
set Carla Goodman • sound Charles Moscatiello
Seven Dials Playhouse, London • 5-30.Mar.24
★★★

Set in 2021 Los Angeles, this pointed two-hander draws a direct line between the incendiary police violence that sparked the Black Lives Matter protests and the January 6th insurrection. It's a bold, intense drama that continually punches its enormous themes about racism and social change. And while there's a razor sharp observation at the centre of the story, it feels perhaps a bit too polarised, never challenging the audience to consider things from a new perspective. This makes it riveting and involving, but never as provocative as it should be.

In a police interrogation room, two long-time friends and colleagues meet under new circumstances. Captain Parker (Carryl) is questioning veteran Sergeant Sully (Colella) about his role in a shooting that left a young man dead after what looked like a routine traffic stop. Over the course of a very tense hour, more details emerge about the situation, and Parker also confronts Sully about evidence that he participated in the attempt to subvert democracy during the Washington DC riot.

Of course, Sully's deep-seated racism and resentment emerge early on, echoed in throwaway lines and attitudes about how he sees society slipping away from what he thinks it should be. He denies it every time, but seeing him say these things directly to a Black woman he counts as a friend is darkly unnerving, and the ripples of emotion both actors convey are powerfully moving. These are seriously immersive roles that both actors play with full-on investment. Carryl is particularly involving as Parker tries to remain calm and professional in such a heated situation, but occasionally loses her cool. And Colella remarkably never flinches as the outspoken, angry and fear-fuelled Sully. Each actor adds extra interest by playing up the fact that these two people know each other very well, which allows the heightened emotion to be balanced with moments of earthy humour.

These realistic touches help create several heart-stopping exchanges over the course of this hour-long interrogation, as witty, natural interaction turns awkward and then heated. This is staged brilliantly, with the audience sitting right in the room, surrounding the table like eavesdropping ghosts. It's fascinating to watch their familiarity strain under the pressure, as a continual string of very clever lines hit the audience with full force. So watching these old friends circle around in an attempt to trap the other is powerfully involving, even if this is written in such a way that it's never a remotely fair fight.


photos by Laurie Sparham & David Adly Garcia • 8.Mar.24

Saturday 9 March 2024

Out on a Limb: Oscar picks & Predictions

As usual, I am more about my picks than my predictions, as I always want someone unexpected to win. This year's winners seem to be predestined, as the same people have walked off with trophies at ceremony after ceremony. So let's hope Oscar voters go against the grain just a little bit. Here's my annual list of who I think will win, and also who I think deserves to get the prize...

PICTURE
Will win: Oppenheimer - Emma Thomas, Charles Roven, Christopher Nolan
Should win: Past Lives
- David Hinojosa, Christine Vachon, Pamela Koffler
Dark horse: Anatomy of a Fall - Marie-Ange Luciani, David Thion
Darker horse: The Holdovers - Mark Johnson

INTERNATIONAL FILM

Will / should win: The Zone of Interest
- 
James Wilson 
Dark horse: Perfect Days - Koji Yanai, Wim Wenders, Takuma Takasaki

ANIMATED FEATURE FILM

Will win: Spider-Man: Across the Spider-Verse - Kemp Powers, Justin K Thompson, Phil Lord, Christopher Miller, Amy Pascal
Should win: The Boy and the Heron - Hayao Miyazaki, Toshio Suzuki

DOCUMENTARY FEATURE

Will win: 20 Days in Mariupol
- Mstyslav Chernov, Michelle Mizner, Raney Aronson-Rath
Should win: The Eternal Memory - 
Maite Alberdi, Juan de Dios Larrain, Pablo Larrain

DIRECTING

Will win: Christopher Nolan - Oppenheimer
Should win: Jonathan Glazer - The Zone of Interest

ORIGINAL SCREENPLAY

Will win: Anatomy of a Fall - Justine Triet & Arthur Harari
Should win: Past Lives - Celine Song
Dark horse: The Holdovers - David Hemingson

ADAPTED SCREENPLAY

Will win: American Fiction - Cord Jefferson

Should win: Barbie - Greta Gerwig & Noah Baumbach 

Serious contender: Oppenheimer - Christopher Nolan

ACTRESS IN A LEADING ROLE

Will win: Lily Gladstone - Killers of the Flower Moon
Should win: Sandra Huller - Anatomy of a Fall

Serious contender: Emma Stone - Poor Things

ACTOR IN A LEADING ROLE

Will / should win: Cillian Murphy - Oppenheimer

Dark horse: Jeffrey Wright - American Fiction

ACTRESS IN A SUPPORTING ROLE

Will / should win: Da'Vine Joy Randolph - The Holdovers

ACTOR IN A SUPPORTING ROLE

Will win: Robert Downey Jr - Oppenheimer
Should win: Ryan Gosling - Barbie

Dark horse: Mark Ruffalo - Poor Things

ORIGINAL SCORE

Will win: Oppenheimer - Ludwig Goransson
Should win: Poor Things - Jerskin Fendrix

ORIGINAL SONG

Will win: What Was I Made For? - Barbie - Mark Ronson, Andrew Wyatt
Should win: I'm Just Ken - Barbie - Billie Eilish, Finneas O'Connell

CINEMATOGRAPHY
Will / should win: Oppenheimer - Hoyte van Hoytema

FILM EDITING

Will win: Oppenheimer - Jennifer Lame
Should win: Anatomy of a Fall - Laurent Senechal

PRODUCTION DESIGN

Will / should win: Barbie - Sarah Greenwood, Katie Spencer

Dark horse: Poor Things - James Price, Shona Heath, Zsuzsa Mihalek

COSTUME DESIGN

Will win: Poor Things - Holly Waddington
Should win: Barbie - Jacqueline Durran

VISUAL EFFECTS

Will / should win: The Creator - 
Jay Cooper, Ian Comley, Andrew Roberts, Neil Corbould
Dark horse: Godzilla Minus One - Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi, Tatsuji Nojima

MAKEUP AND HAIRSTYLING

Will / should win: Poor Things - 
Nadia Stacey, Mark Coulier, Josh Weston

SOUND
Will / should win: The Zone of Interest
- Tarn Willers, Johnnie Burn
Dark horse: Oppenheimer - Willie Burton, Richard King, Gary A Rizzo, Kevin O'Connell

Friday 8 March 2024

Dance: Pushing forward

New York City Ballet: Mixed Bill
Sadler's Wells, London • 7-10.Mar.24 ★★★★

Displaying skills at the very peak of the artform, the New York City Ballet continues to blend a reverence of classical forms with modern touches. So this mixed bill is packed with moments that feel surprising and even thrilling as they subvert expectations. This is a spirit-lifting programme featuring four distinct pieces...

Rotunda
choreography Justin Peck
music Nico Muhly
dancers Megan Fairchild, Miriam Miller, Jacqueline Bologna, Sara Adams, Indiana Woodward, Unity Phelan, Daniel Ulbricht, Victor Abreu, Adrian Danchig-Waring, Sebastián Villarini-Vélez, Jules Mabie, Gilbert Bolden III
conductor Andrews Sill

First up is Justin Peck's jaunty gathering of 12 dancers wearing colourful practice garb, floating in shapes together and separately, echoing each other and then shooting off individually as if they are in a rehearsal jam session. It's expressive and fluid, with an almost weightless, bouncy sensibility that reveals the dancers' lyrical athleticism. Further impressive sequences include duets, solos and more group numbers, all held together with the buzzy choreography and bright music, performed live by an orchestra. Most powerful is the connection we feel between the dancers as they spin around each other, revealing a camaraderie that adds to the impact of the piece.

Duo Concertant
choreography George Balanchine
music Igor Stravinsky
dancers Megan Fairchild, Anthony Huxley
piano Elaine Chelton • violin Kurt Nikkanen

There's an instant cheeky sense of interaction between two musicians and two dancers on-stage, as Stravinsky's music starts things off before the physical movement begins. Balanchine's choreography still feels fresh and inventive, revealing beautiful lines, big emotions and engagingly expansive expressions. As these two gifted dancers spiral around the stage, they continually offer humane touches that bare their souls, with added moments of wit, emotion and dazzling footwork. Throughout the piece, they return to the piano and violin to get lost in the music, regroup and set off again. It culminates with a lovely black stage illuminated with action in tiny spotlights.

Gustave Le Gray No 1
choreography Pam Tanowitz
music Caroline Shaw
dancers Naomi Corti, Adrian Danchig-Waring, Ruby Lister, Mira Nadon
piano Stephen Gosling

The piano remains on-stage, as four performers appear dressed in red, with floaty drapes over full-body suits. Once again, there is interaction between the musician and the dancers, but this has a more technical feel to it, choreographed to focus on movement and shapes rather than deeper emotions. It's beautiful, with fascinating touches and some wonderfully cool moments. It's also rather self-conscious in the way it plays out, revealing impressive skill without deeper emotionality. The highlight is a wonderfully absurd sequence in which the dancers push the piano across the stage, and the pianist doesn't miss a note. 

Love Letter (on shuffle)
choreography Kyle Abraham
music James Blake
dancers Olivia Boisson, Jacqueline Bologna, Naomi Corti, Christopher Grant, Emily Kikta, Ruby Lister, Malorie Lundgren, Jules Mabie, Alexa Maxwell, Roman Mejia, Mckenzie Bernardino Soares, Taylor Stanley, Quinn Starner, Kennedy Targosz, Peter Walker

Ending on a high, this final piece is a wonderfully engaging mix of classical ballet moves with modern dance and hip-hop. The performances and choreography are often exhilarating, accompanied by soulful music that continually reveals new textures. This is a visceral piece that unfolds in a series of terrific variations in pace, creating an expressive, intriguing dreamlike atmosphere that's infused with life and humour. The movement is luxuriant, performed with serious strength while the 15 dancers allow their personalities to emerge in their interaction. With clever costumes that feature theatrical flourishes, and colourful lighting that adds textures to the floor, this is a lovely collection of impressive solos, romantic duets and buoyant group moments, coming full circle with Joy Division's Atmosphere.

For information: SADLER'S WELLS >

photos by Erin Baiano & Paul Kolnik • 7.Mar.24