Showing posts with label elizabeth chai vasarhelyi. Show all posts
Showing posts with label elizabeth chai vasarhelyi. Show all posts

Thursday, 3 September 2026

Venezia83: Breaking news

The 83rd Venice Film Festival kicked off on Tuesday with the world premiere of Danny Boyle's new film Ink, with an extraordinarily glittering red carpet of celebrities in attendance. Of course, I watched the movie at another screening entirely, as the press is mainly kept at a distance from the stars these days. The weather is sunny and hot this year, so I'm enjoying my commutes across the lagoon from Venice proper (where I'm sytaying) to the Lido (where the festival is held). But the hunt for a reliable phone signal and/or wifi isn't quite as much fun. Still, there's always gelato to keep me smiling. Here are notes on five films...

Ink
dir Danny Boyle; with Jack O'Connell, Guy Pearce 26/UK ****
James Graham adapts his stage play for the screen, which is then turned into an explosion of imagery and sound by director Danny Boyle. It's the story of how tabloid reporting expanded in 1969 Britain, recounted with close-up camerawork, energetic cutaways and journalistic angst. At times, style drowns out substance, but there's also a sense of urgency as we see how news reporting got to where it is today. 

Bucking Fastard
dir-scr Werner Herzog; with Kate Mara, Rooney Mara 26/Ire ****
A genuine oddity, this fable-like film feels more like it came from Yorgos Lanthimos than Werner Herzog. But it's based on a true story, and the iconic German filmmaker brings his distinct quirkiness to an odyssey about two sisters who defiantly march to their own beat. And as the film crackles with charm and wit, their tenacious quest is for a world full of love, so the emotions continually catch us by surprise. 

Everest: The Other Side
dir Jimmy Chin, Elizabeth Chai Vasarhelyi; with Jim Morrison, Hilaree Nelson 26/US ****.
Jaw-dropping cinematography puts us right on the slopes with intrepid climbers as they spend five years trying to do something unprecedented: after scaling the rarely climbed northern face of Everest, Jim Morrison and Hilaree Nelson intend to ski back down. Filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi get fully involved, tracing huge emotional currents throughout this unpredictable story.

Agata the Writer
dir-scr Kuba Dorabialski; with Mia Wasikowska, Vedrana Bozinovic 26/Bos ***.
Defiantly resisting a standard movie narrative structure, Polish filmmaker Kuba Dorabialski wrote, directed, edited, photographed and composed the music for this ambitious meta-drama. The story is a fascinating exploration of the place where art and history converge, knowingly blurring lines between books, movies and journalism as an author confronts her motivations. While it's darkly intriguing, Dorabialski's approach is also indulgent and stylised, which leaves it feeling somewhat academic.

Salón de Belleza
dir Nathalia Acevedo; with Sam Louwyck, Erwan Kepoa Fale 26/Mex ***.
From Mexico, this experimental drama is shot in a richly immersive style that creates a hypnotically enigmatic ambience. Filmmaker Nathalia Acevedo is gifted at capturing details that reveal characters and settings in an unusually visceral way, telling an evocative story without the need for dialog. The lead character is simply called “the individual”, making him an everyman in a surreal but profoundly human odyssey. 

Full reviews will be linked to Shadows' VENICE FILM FEST PAGE >

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C R I T I C A L  W E E K 

There was only one movie that I watched in the last week that wasn't part of either the Venice Film Festival or FrightFest London: namely Netflix's filmed version of Zach Zucker's singular Stamptown. I had just seen it performed live in Edinburgh, so it was fun to see another variation of this show, which changes with each performance. It's a must-see high-energy, full-on celebration of clowning, best experienced in a theatre. The Netflix special is a bit more gleefully naked than the stage show usually is, and wonderfully so. And it carries an important emotional wallop. I won't be watching any non-Venice films in the next week.

Wednesday, 11 October 2023

LFF: Smile for the camera

Into the second week of the 67th London Film Festival, the star-free red carpets continue to play out every night in front of the Royal Festival Hall on the Southbank. The paparazzi look rather bored, so I've been chatting to them as I go by, finding out which of the film's crew members are in town, and perhaps some B-list celebs as well. Then I spot an Oscar-nominated A-lister incognito in the crowd and say hi; she's been enjoying movies as an audience member, adeptly honouring the actors strike by avoiding the cameras. Word has it that most stars have a bag packed so that once the strike is over they can rush off to support their movie projects. But in the meantime, we still have the movies. Here are a few more highlights...

Priscilla
dir-scr Sofia Coppola; with Cailee Spaeny, Jacob Elordi 23/US ***.
Maintaining a sharp perspective from start to finish, Sofia Coppola explores the relationship between Priscilla and Elvis Presley with strikingly intimacy. The film digs under the surface to explore much more than the familiar story of a teenager who married the world's most famous singer. The anecdotal structure sometimes feels a bit jarring, and the ending is abrupt, but the narrative offers a remarkably involving exploration of gender politics... FULL REVIEW >

Nyad
dir Elizabeth Chai Vasarhelyi, Jimmy Chin; with Annette Bening, Jodie Foster 23/US ****
Powerfully involving, this true drama is shot in a riveting documentary style with the addition of real-life footage. It also features fabulous roles that Annette Bening and Jodie Foster can properly sink their talented teeth into. Without over-egging the story's inherent adventure elements too much, directors Elizabeth Chai Vasarhelyi and Jimmy Chin let the events play out authentically, and the engaging characters make it both gripping and unmissable.

Foe
dir Garth Davis; with Saoirse Ronan, Paul Mescal 23/Aus ***
Beautifully shot, this lightly futuristic romantic thriller centres tightly on three characters who are skilfully played with intense emotionality. But filmmaker Garth Davis tries to be tricky with a plot that simply doesn't hold water. Explanations come far too late to put anything that happens into context, so watching the film is an exercise in frustration. Even so, it has some important things to say about curiosity and compassion... FULL REVIEW >

The Lost Boys [Le Paradis]
dir Zeno Graton; with Khalil Gharbia, Julien De Saint Jean 23/Bel ****
Set in a juvenile detention facility, this sensitive Belgian drama traces a romance between two teen boys with hushed sensitivity. It's a beautifully observed story that unfolds in earthy and sometimes tender interaction, skilfully directed by Zeno Graton to put us into the mindset of a powerfully engaging central character. And it manages to be authentic, hopeful and even occasionally grim without ever resorting to prison movie cliches.

Totem
dir-scr Lila Aviles; with Naima Senties, Montserrat Maranon 23/Mex ****
Loose and authentically chaotic, this Mexican drama features refreshing rhythms of family life over a pivotal day. Filmmaker Lila Aviles is an expert observer of human behaviour, filling the house with fully formed characters who have their own preoccupations and little sense of allowing others their personal space. The wonderfully open-handed filmmaking constantly reveals things about people who are both connected and disconnected at the same time.

Blackbird Blackbird Blackberry
dir Elene Naveriani; with Eka Chavleishvili, Temiko Chichinadze 23/Geo ****
With deadpan charm, this Georgian film opens with a woman picking blackberries on the edge of a riverbank when a blackbird distracts her and she falls, imagining her death below. Filmmaker Elene Naveriani maintains a quiet, slow-burning vibe that ripples with underlying humour and tensions. The characters are wonderfully real, while the film has a colourful, sardonic Kaurismaki-like quality that's thoroughly winning. And the underlying message is hugely empowering.

All full festival reviews will be linked to Shadows' LFF PAGE >

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C R I T I C A L  W E E K

In addition to lots of festival films, this week I also saw Laura Linney, Maggie Smith and Kathy Bates in the engaging and pointed Irish comedy-drama The Miracle Club, the quirky and dark British comedy Mind-Set, and enjoyably cheesy voyeurism nastiness in 15 CamerasFilms this coming week include several more LFF films, the animated musical sequel Trolls Band Together. the girls' comedy Bottoms, and Anne Hathaway and Thomasin McKenzie in Eileen. Then I'll be on a plane to visit family in California for a couple of weeks.