Wednesday 30 March 2022

Stage: Grappling with identity

Sadler's Wells presents two shows concurrently, 40 Years of Phoenix at the Peacock and Traplord at 180 Studios, both of which explore issues of identity through a distinctly Black perspective. These are unmissable performances that are worth seeking out...

40 Years of Phoenix
with Aaron Chaplin, Alana Cowie, Charlie Naylor, Alabama Seymour, Melina Sofocleous, Yuma Sylla, Matthew Topliss, Shawn Willis
The Peacock Theatre, London
29-30.Mar.22 and on tour until 20.May.22

With this anniversary show, Phoenix Dance Theatre celebrates the four decades since it launched in Leeds in 1981. Artistic Director Dane Hurst has selected five distinctive pieces from the company's history, which he calls "five essential works that display something of the scope and reach of what dance can achieve". Indeed, these are dramatically involving performances, deploying terrifically talented dancers to provoke the audience physically, emotionally and also intellectually.

Signal
Choreographed by Henri Oguike, this rhythmic diptych is performed to Japanese Taiko percussion that reverberates right through the audience. It's an often startling mix of elegance and strength, blending balletic moves with properly intense physicality as the dancers, dressed in striking red and black body suits, interact in a variety of ways that feel deeply human. And the final section, performed with leaping flames on-stage, bursts with energy and intent.

Harmonica Breakdown
Created in 1938 by dancer-choreographer Jane Dudley, this piece plays out to the earthy rhythms of Sonny Terry's eponymous track, danced by Yuma Sylla as if her life depends on it. This is a bracing depiction of human endurance and resilience in the American South, as this woman continues surging forward despite a range of unseen barriers that restrict her progress. But she persists in moving, and she vividly expresses her determination, pain and joy in equal measure.

Family
There's a witty kick to this fascinating play on home life, choreographed by Danial Shapiro and Joanie Smith to give voice to a range of family members, including parents, children, an uncle, cousin and boyfriend fighting for his place in the holiday portrait. Centred around an armchair, the movement is clever and often exhilaratingly fluid, as dancers take flight in their interaction, pushing and pulling each other to draw out both humour and darker emotions.

Pave Up Paradise
An inventive, emotionally resonant take on the story of Adam and Eve choreographed by Ben Duke and Raquel Meseguer, this piece includes musician Andrew Burke on-stage performing music by the Strokes, Gomez and Jeff Buckley while two dancers spiral around the stage. It's a rare dance piece featuring lines of spoken text as the performers retrace the creation mythology with their voices and physicality, exploring the connection and tension between male and female perspectives.

Heart of Chaos
Choreographer Darshan Singh Bhuller's fiercely physical work has been revisited in the context of boxer Jack Johnson (played by Aaron Chaplin), his rivalry with Jim Jeffries (Matthew Topliss) and his tumultuous marriage to Etta Duryea (Melina Sofocleous). It's a breathtaking piece that includes riveting dance-based recreations of boxing matches as it grapples with complex ideas of race, masculinity, celebrity and sexuality. As in the other pieces, the dancers' work is staggeringly precise and evocative, here with an added punch of historical context and dramatic urgency. Simply stunning. 

for information: PHOENIX DANCE THEATRE
photos by Foteini Christofilopoulou • 29.Mar.22



Traplord

director-choreographer Ivan Michael Blackstock
with Ivan Michael Blackstock, Chantelle Dawe, Shannelle 'Tali' Fergus, Kanah Flex, Wild G, Kyron Jake, Magero, Robia Milliner, Underwaterkash, Malachi Welch, Chaldon Williams 
music by Michael 'Mikey J' Asante, Brnsrght, Creatxr, Dominant, Denzel Himself, Mindaugas Juozapavicius, Torben Sylvest
180 Studios, London • 26.Mar-16.Apr.22

A staggering burst of pent-up energy, Ivan Michael Blackstock's atmospheric show digs deeply into concepts of masculinity while recounting an epic tale of redemption through a Black point of view. This is a provocative trip through resonant issues of identity and connection that vibrates the audience's bones, while performers bounce around the industrial theatre space with expressions that range from gun violence to heavenly bliss.

Dressed in combat gear with provocatively blacked-in faces, the performers emerge from the darkness with intent, deliberately evoking cliched masculine posturing in a show of strength before the deeper ideas begin to emerge between them. The show includes live music, spoken word and a giant screen that plays on videogame imagery to hint at the internal intensity of daily life for someone whose self-image is at risk if they don't continually level up, as it were. And of course the real quest here is to find the strength to accept and celebrate yourself.

There's an explosiveness to this performance that literally takes the breath away, both in large group scenes and several pointed individualistic moments. The physicality is astonishing, often seemingly loose and random before coalescing into bracing communal choreography. This combination expresses ideas that cut through tough surfaces that are pointedly abrasive, from the distorted sound mix to lights shining straight into the audience's eyes.

In the unstructured narrative, the sympathetic Blackstock appears in a rabbit-eared cap, often hiding from a hulking figure in a pig mask. And the astonishingly bendy Kanah Flex is another stand-out. The range of colliding ideas intentionally challenges the audience to feel this piece rather than to understand it. And while the climactic sequence involving a mythical sword and a crowd of angels feels a little low in energy, the show is capped off by a terrific blast of raw power.

for information: TRAPLORD
photos by Camilla Greenwell • 30.Mar.22


Sunday 27 March 2022

BFI Flare: Play the field

So the 36th BFI Flare: London LGBTQIA+ Film Festival comes to a close today, following last night's closing night world premiere for the energising documentary Tramps! It's been a great festival this year - especially nice to be back in person after two virtual festivals - and I still have some short films to watch, and perhaps a feature or two. Links to full reviews will be up when possible. And my 10 best films of the festival are listed below this final collection of highlights...

In From the Side
dir Matt Carter; with Alexander Lincoln, Alexander King 22/UK ****
Skilfully directed by one-man movie studio Matt Carter, this British rugby movie is packed with big drama, sparky comedy and some powerfully emotional romance. The film may be a bit overlong and melodramatic, but it looks gorgeous and features a terrific cast of actors who bring the complex characters to bustling life. It also tackles deeper themes with remarkable nuance, which makes the movie both entertaining and surprisingly moving.

Tramps!
dir-scr Kevin Hegge; with Judy Blame, John Maybury 22/Can ****
This blisteringly energetic documentary covers the period of London's 1970s-80s art scene often known for the Blitz Kids or New Romantics. But filmmaker Kevin Hegge looks beyond high-profile stars like Boy George and related icons like David Bowie, digging much more deeply into the origins and textures of this ground-level movement. The film traces events with unusual intimacy, revealing intriguing queer sensibilities that are almost mainstream today.

Sublime
dir-scr Mariano Biasin; with Martin Miller, Teo Inama Chiabrando 22/Arg ****
There's a realistic charge of loose-limbed energy in this coming-of-age drama from Argentina. Writer-director Mariano Biasin keeps the camera very close to the lead character, seeing events through his eyes. The internalised approach sometimes allows the narrative to drag a bit, but the film has the authentic kick of an autographical drama, getting under the skin with its organic mix of relaxed comedy and sharp-edged drama... REVIEW >

FROM THE ARCHIVES
Dakan [aka Destiny]
dir-scr Mohamed Camara; with Aboubakar Toure, Mamady, Cecile Bois 97/Gui ****
Known as the first West African film to explore homosexuality, this Guinean drama is only available at retrospective screenings like this 25 year anniversary showing at BFI Flare. It's a strikingly powerful piece, written and directed with a poetic eye that cuts through the usual melodramatics to get under the skin of its central character, a teen who simply can't understand why it's such a scandal that he has fallen in love with another boy. The story takes some intense twists and turns on its way to an ending that's surprisingly tender for the genre and period. And its honesty makes it well worth a look.

Rich's Best of Fest

  1. A DISTANT PLACE (Park, Kor)
  2. MONEYBOYS (Yi, Tai)
  3. THE PERFECT DAVID (Aparicio, Arg)
  4. WILDHOOD (Hannam, Can)
  5. BRUNO REIDAL: CONFESSION OF A MURDER (Le Port. Fr)
  6. GIRL PICTURE (Haapasalo, Fin)
  7. SUBLIME (Biasin, Arg)
  8. THE NOVICE (Hadaway, US)
  9. MANSCAPING (Fox, US)
  10. THE DIVIDE (Corsini, Fr)

I have a bit of a backlog, but all full reviews will be linked to Shadows' BFI Flare ANCHOR PAGE 
For festival information, visit BFI FLARE 


Friday 25 March 2022

BFI Flare: Celebrate your roots

Coming into the final weekend of the 36th BFI Flare, I've tried to catch up a bit on sleep, simply because there are parties tonight and tomorrow - followed by the shift to Summer Time on Saturday night and then the Oscars on Sunday night, which runs until dawn here in Britain. I'll sleep next week. In the mean time, I'm enjoying hanging out with colleagues, filmmakers, actors and the friends I've made at this amazing festival over the past 20-some years. And the films just get better each year, with more subtly complex comments on queer themes. Here's another varied collection of highlights...

Wildhood
dir-scr Bretten Hannam; with Phillip Lewitski, Joshua Odjick 21/Can ****
Set in a Mi'Kma'Ki community in eastern Canada, this drama has an electrical charge of energy as it follows a teen trying to work out who he is. Bristling with attitude, the film revels in its youthful characters' loose physicality as they begin feeling freedom for the first time. Skilfully written and directed by two-spirit filmmaker Bretten Hannam, the film grabs hold with sharp characters and knowing details.

The Divide
dir Catherine Corsini; with Valeria Bruni Tedeschi, Marina Fois 21/Fr ****
A blackly comical sensibility infuses this fast-paced French drama set in an overwhelmed public hospital. Set before the pandemic, the narrative is fuelled by personal issues and street demonstrations. Director-cowriter Catherine Corsini masterfully orchestrates complex ripples of relentless action and emotion, cleverly centring on the confused, frustrated, often annoying patients rather than the endlessly adept medical workers. It's so expertly written and assembled that it feels unnervingly real.

The Perfect David
dir Felipe Gomez Aparicio; with Mauricio Di Yorio, Umbra Colombo 21/Arg ****
Dark and insinuating, this fiercely clever Argentine drama explores masculinity through the rather extreme life of a 16-year-old bodybuilder. Much of the film is virtually silent, telling the story with the expressive physicality of the characters. And as a churning intensity rises up from within the narrative, filmmaker Felipe Gomez Aparicio makes some powerful observations about our toxic culture. It's a complex, provocative and ultimately moving story

Being BeBe
dir Emily Branham; with Nea Marshall Kudi Ngwa, Dimitra Ngwa 21/US ***.
The veryfirst winner of RuPaul's Drag Race is the subject of this fairly straightforward documentary. Filmmaker Emily Branham outlines 15 years in the life of BeBe Zahara Benet, while also highlighting the way his high profile has changed public perceptions in his home country Cameroon, even as homosexuality remains illegal there. Meanwhile, clips of BeBe's performances over the years remind us what a fabulous star he still is.

BEST OF YEAR
The World to Come
dir Mona Fastvold; with Katherine Waterston, Vanessa Kirby 20/US **.
Hushed to the point of being downright dour, this low-key period drama gets into the mind of a woman who finds unexpected purpose in her life. Norwegian director Mona Fastvold evokes a strong visual sensibility, vividly creating the time and place on-screen while slowly opening up options for the central character. This brings a welcome hint of lightness to the film, although the story structure is mopey and repetitive... REVIEW >

Full reviews will be linked to Shadows' BFI Flare ANCHOR PAGE 
For tickets and information, visit BFI FLARE 


Wednesday 23 March 2022

BFI Flare: Be a team player

Passing the halfway point, the 36th BFI Flare is getting into serious party mode, with late-night events most evenings, building up to the closing party on Saturday. This makes it tricky to find time to write up reviews of the films I'm watching, but I keep up as best as I can, knowing that I'll have to wait until next week to tackle the backlog. Meanwhile, I'm enjoying the socialising, of course! The quality of the films this year is unusually strong, with complex dramas that depict a range of social situations with subtlety and insight. And the variety of dramas, documentaries, comedies and thrillers is very strong as well. Here are some more highlights...

The Novice
dir-scr Lauren Hadaway; with Isabelle Fuhrman, Amy Forsyth 21/US ****
With her debut feature, writer-director Lauren Hadaway skilfully creates a seriously intense drama harking back to her experiences on a university rowing team. While she adeptly captures the pressure on students who are trying to achieve sporting prowess, she zeroes in on a young woman who is so obsessive that every aspect of her life is about competition. And she's played with wrenching honesty by the terrific Isabelle Fuhrman.

A Distant Place
dir-scr Park Kun Young; with Kang Gil-woo, Hong Kyung 20/Kor ****
Set in rural Korea, this understated drama explores lingering unspoken homophobia in a progressive country. Writer-director Park Kun Young takes an observant approach, carefully staging scenes that reveal connections between the characters and their environments. This creates a striking and often unnerving depiction of more subtle forms of prejudice like side glances, passive-aggressive silences and exclusion. But the film is also infused with hope for a more compassionate future.

Jimmy in Saigon
dir-scr Peter McDowell; with Peter McDowell, Ellen McDowell 22/US ****
Confronting a veil of sadness that he's always felt in his family, filmmaker Peter McDowell documents his impressive investigation to discover the facts about the big brother he barely knew. This is a beautiful collection of interviews with a variety of people, illustrated with extensive home movies and snapshots. And while making this film over more than a decade, Peter uses the truth to rewrite his family's history.

This Is Not Me
dir Saeed Gholipour; with Saman Ghazian, Shervin Ramezan 22/Irn ****
From Iran, this documentary follows two young trans men who are navigating the complex situation in their country, going to court for the right to live as the person they are inside. By resisting both preachy moralising and flashy filmmaking, director Saeed Gholipour shows remarkable sensitivity, letting the cameras follow them through day-to-day situations over the course of several years. This approach gives them a powerful voice.

BEST OF YEAR
Flee
dir-scr Jonas Poher Rasmussen; voices Rashid Aitouganov, Daniel Karimyar 21/Den ****.
Bracingly cinematic, this documentary traces an Afghan refugee's staggeringly involving story. Because much of his journey wasn't captured on film, and since he prefers to remain anonymous, his story is gorgeously animated by director Jonas Poher Rasmussen in a range of hand-drawn styles. But it's so detailed and skilfully put together that it's hugely involving on a range of levels, both in the bigger themes and the darker emotions.... REVIEW >

Full reviews will be linked to Shadows' BFI Flare ANCHOR PAGE 
For tickets and information, visit BFI FLARE 

Monday 21 March 2022

BFI Flare: Stand up and sing

More busy days at the 36th BFI Flare, as it takes over the Southbank centre with a flurry of movies, events and parties. I've particularly enjoyed the chance to chat with filmmakers, actors and other industry professionals during the social events, talking about films and also catching up on life after two years of virtual film festivals. Here are some more particularly strong highlights...

Moneyboys
dir-scr CB Yi; with Kai Ko, Yufan Bai 21/Tai ****
Chinese-born filmmaker CB Yi studied in Austria under Michael Haneke, and it shows in this drama's tightly controlled camerawork and willingness to travel to properly devastating places. Stunningly visual, the film was shot in Taiwan because its Chinese-set story would never fly with censors there. It's a gorgeously assembled film packed with vividly textured characters, settings and insights into human nature. And at its heart, it's an epic love story.

I Want to Talk About Duras
dir-scr Claire Simon; with Swann Arlaud, Emmanuelle Devos 21/Fr ****
With a script taken verbatim from a 1982 interview, this French drama offers a complex exploration of celebrity. It's also a riveting, disturbing firsthand account of a relationship with an artistic icon. Writer-director Claire Simon clearly relishes the contradictions in the story, which grapples with uneven connections between people who find themselves in a non-traditional romance. So while the film is talky and prickly, it's also thoughtful and provocative.

Bruno Reidal: Confession of a Murderer
dir-scr Vincent Le Port; with Dimitri Dore, Jean-Luc Vincent 21/Fr ****
Deeply unsettling, this French drama emerges directly from court documents and journals. Its clinical tone sets it apart from the usual true stories about murder, because this allows the film to dig under surfaces, finding authenticity that eerily contradicts the facts of the case. Filmmaker Vincent Le Port also has a remarkable visual sensibility, creating a period piece that is achingly beautiful even with its harsh and horrific angles.

Manscaping
dir Broderick Fox; with Devan Shimoyama, Jessie Anderson 22/US ****
Open and observational, this documentary explores traditional barbershops from perspectives that are both pointed and revelatory. Filmmaker Broderick Fox speaks to three inventive men who are challenging notions of toxic masculinity while lifting up anyone who has been told they were less than normal. By making clients feel welcome, these men are changing the world. And Fox skilfully shows how important it is to tell their stories with honesty.

BEST OF YEAR
Parallel Mothers
dir-scr Pedro Almodovar; with Penelope Cruz, Milena Smit 21/Sp ****
A layered melodrama about mothers and daughters, this film features another of Pedro Almodovar's astute collections of complex female characters. Without many of the filmmaker's usual flourishes, this is instead a soapy study of connections with some added Hitchcock-style tensions that are jaggedly emotional in nature. There's rather a lot going on here, sometimes perhaps too much to take in properly. But it carries a powerfully moving kick... REVIEW >

Full reviews will be linked to Shadows' BFI Flare ANCHOR PAGE (this may take awhile as I'm a bit busy watching movies!)
For tickets and information, visit BFI FLARE 

Saturday 19 March 2022

BFI Flare: Embrace the competition

BFI Flare: London LGBTQIA+ Film Festival powers into its first weekend with a flurry of screenings and events that have turned BFI Southbank into the place to be in London. It's a great place to hang out, mingling with fans, filmmakers and actors. The audiences have been terrific in the cinemas, and it's been fun to see friends and colleagues who have been in hiding for two long years! Here are some more highlights...

The Swimmer
dir-scr Adam Kalderon; with Omer Perelman Striks, Asaf Jonas 21/Isr ***.
With a bracingly sensual aesthetic, this Israeli drama explores the strains experienced by top-level sportsmen, touching on pungent themes so subtly that you might miss them if you blink. Writer-director Adam Kalderon uses bright hues in costumes and sets, plus a lively score by The Penelopes, all of which quietly infuse scenes with a camp sensibility that plays on how the camera lovingly gazes at athletic men in speedos.

Boulevard! A Hollywood Story
dir Jeffrey Schwarz; with Gloria Swanson, Richard Stapley 21/US ****
A true story that echoes a classic movie, this documentary delves into the archives of screen icon Gloria Swanson. Ace filmmaker Jeffrey Schwarz lays out the events with a snappy pace that's hugely entertaining, especially since the tale is so packed with surprising twists and turns. Not only is the film a fabulous account of unknown Hollywood history, but it ripples with deeper themes that make it surprisingly resonant.

Boy Culture: The Series
dir Q Allan Brocka; with Derek Magyar, Darryl Stephens 22/US ***
Filmmaker Q Allan Brocka catches up with the characters from his 2006 movie in this comical six-part series, both based on the book by cowriter Matthew Rettenmund. Once again, the central focus is on a couple that finds it difficult to stay together due to their different views of sex. The dialog and characters are sharp and engaging, and scenes are infused with lustiness, even if it's mainly talk.

Charli XCX: Alone Together
dir Bradley & Pablo; with Charli XCX, Huck Kwong 21/US ****
A knowing exploration of the impact of the pandemic, this documentary unfolds through the eyes of the 29-year-old British pop artist as she reveals details of her life, career, relationships and family. And the film also includes her extended fan family, called Angels, as she invites their participation to create a new collection of songs and videos. It's a colourful, fast-paced film packed with surprisingly powerful moments.

BEST OF YEAR
Great Freedom
dir Sebastian Meise; with Franz Rogowski, Georg Friedrich 21/Aut ****
Earthy and understated, this Austrian prison drama tells a story of resilience amid harsh treatment of gay men in post-war Germany. Filmmaker Sebastian Meise keeps the film tightly focused on its characters, which makes it sometimes startlingly warm as it explores deeper connections between men who are prohibited from being themselves. Starting with Nazi persecution of homosexuality, the film's narrative covers the extension of those laws into the late 1960s... REVIEW >

Full reviews will be linked to Shadows' BFI Flare ANCHOR PAGE 
For tickets and information, visit BFI FLARE 

Thursday 17 March 2022

BFI Flare: Let it shine

Finally back in-person, BFI Flare: London LGBTQIA+ Film Festival kicked off with a gala opening night on Wednesday,  as Finnish filmmaker Alli Haapasalo presented her Sundance-winner Girl Picture before a lively party at the May Fair Hotel. This is London's most festive film fest, where everyone mingles together without the usual segregation between talent and audiences. And it's great to see both the friends who make this an annual highlight and the filmmakers and actors who are here to show their work. Some highlights to start with...

Girl Picture
dir Alli Haapasalo; with Aamu Milonoff, Eleonoora Kauhanen 22/Fin ****
There's a refreshing authenticity to this Finnish coming-of-age drama that continually catches the viewer by surprise, as director Alli Haapasalo continually subverts the usual cinematic tropes in lieu of something that's engagingly honest. The story follows three girls as they face a range of pressures over three Fridays. This contained structure allows for a loosely observational style that feels improvisational and raw. And it also makes it surprisingly resonant.

Benediction
dir-scr Terence Davies; with Jack Lowden, Peter Capaldi 21/UK *****
Master filmmaker Terence Davies takes a gorgeously poetic look at the life of poet Siegfried Sassoon, blending funny, sexy and wrenchingly emotional moments into a collage that continually catches us by surprise. As the film grapples with the nature of time and mortality, this swirl of punchy scenes and period newsreel footage isn't afraid to tackle hard truths about humanity. It's an elegantly devastating work of art... REVIEW >

Cop Secret
dir Hannes Thor Halldorsson; with Audunn Blondal, Egill Einarsson 21/Ice ****
Wild and loose, this punchy 1970s-style police thriller from Iceland starts with a bang and never lets up. Hilariously over the top, the film gleefully deploys the tough-guy genre cliches. The film is entertaining both for its gritty crime action and the way it makes the usual homoerotic subtext in a buddy movie much more central to the narrative. But can the nation's toughest cop admit that he's gay?... REVIEW >

F R O M   T H E   A R C H I V E S
Madame Satã
dir-scr Karim Ainouz; with Lazaro Ramos, Marcelia Cartaxo 02/Br ****
This gritty tale from 1930s Rio de Janeiro tells the real story of Madame Satã, Queen of Carnival from the '40s to until his death in 1976. Writer-director Ainouz creates a remarkable atmosphere--dark and sweaty, with a disarming style of cinematography and editing that makes it feel almost like a fantasy. It looks fantastic! There's a knowing, witty playfulness that keeps us gripped, even when we're not quite sure what's going on or who's whom... REVIEW >

Full reviews will be linked to Shadows' BFI Flare PAGE 
For tickets and information, visit BFI FLARE 

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

 
The Batman was the only movie I saw during my three weeks in Los Angeles - I was there to spend time with family and friends after two strange years! Back in London, I dove straight into BFI Flare, and also began to catch up on other films that are coming out, including Pixar's superbly observed animated adventure Turning Red and the slickly insinuating mystery Deep Water, starring Ben Affleck and Ana de Armas. 

In the coming days, I'll be watching Sandra Bullock and Channing Tatum in the comedy The Lost City, Francois Ozon's Everything Went Fine, the horror comedy Followers and the shorts collection The French Boys 4.

Monday 7 March 2022

On the road: Drop the mask

For my first trip out of Britain in two years, I returned to Southern California to visit family and friends. This is where I was when the first lockdown hit in March 2020, so it's been a bit surreal to be here as restrictions are finally lifting - and it's great to catch up with friends and family after such a long gap. Plus of course the fish tacos. 

I've caught up with just one movie here: Matt Reeves' new take on The Batman, starring Robert Pattison as the Dark Knight. It's a big film, bold in its emphasis on deeper emotions rather than the superficial action. But it's also overwhelmed by a cliched visual stylisation that stubbornly refuses to switch on a light or add much in the way of colour. Fans will love the earnestly whispered dialog, while serious filmgoers will roll their eyes.

On Saturday, I visited the Academy Museum with two university friends (an Instagram image set is below). We had a lot of fun with the extensive collection of clips and artefacts, but wondered why the curators so resolutely ignored the history of Hollywood and the studios. There are a variety of spaces that explore aspects of cinematic craft, and a fun space featuring clips and memorabilia from Oscar ceremonies, while sections dedicated to specific films and filmmakers felt more than a little random. I quite liked the Spike Lee exhibit, which centres around his influences. An enormous room dedicated to Almodóvar features lots of gorgeous posters and unidentified clips and nothing else. And it's fun to stand under the massive Moount Rushmore backdrop from North by Northwest. Other highlights include a large area exploring The Wizard of Oz, a collection of iconic movie creatures and a colourful special exhibition tracing the career of Hayao Miyazaki. Oddly, the small room celebrating Citizen Kane is the same size as the room celebrating Real Women Have Curves. And then there was the giftshop, which is completely lacking in souvenirs that feature Oscar, which seems like a seriously missed opportunity (the one Oscar photo op costs an extra $15). Another inexplicable error is omitting a snack bar on the vast open-air observation deck looking out over West Los Angeles. And lighting the exhibits in a way that makes selfies almost impossible. Let's hope they bring someone on board to make this museum something more properly amazing.


Because of The Batman, there are very few other films being released here these days. The only one in cinemas I'd kind of like to see is a guilty pleasure - the Foo Fighters' Studio 666 - but of course no one here wants to see that with me! So I'll probably wait until returning to London to see something new - plus the offerings at BFI Flare, a festival starting on March 16th.