Shadows on the Stage: A cry for freedom

HARAM IRAN
dir Gene David Kirk; scr Jay Paul Deratany
Above the Stag Theatre, Vauxhall - 5.April-1.May.16

Inspired by the true story of Mahmoud Asgari and Ayaz Marhoni, who were beaten and publicly executed in Iran in 2005 after being accused of homosexual coercion. The details of the story have never been released, but playwright and human rights lawyer Jay Paul Deratany gathered as much information as possible before weaving the story into a wrenching exploration of youthful hope in a place where freedom of thought is prohibited.

The play centres on Ayaz (Viraj Juneja), a smart 15-year-old whose professor mother (Silvana Maimone) has raised him with an appreciation of banned foreign novels like Catcher in the Rye and Les Miserables. His 14-year-old school friends Mahmoud and Fareed (Andrei Costin and Merch Husey) are more interested in playing football than reading a book. And Fareed is appalled to learn that Ayaz is carrying around "haram" (forbidden) novels. Mahmoud is more curious, and soon they are secretly meeting so Ayaz can recount these taboo stories to him. They also discover that they share a mutual attraction, which of course is also haram. And in a flash of jealousy, Fareed reports them to the authorities. Ayaz is locked up by a brutal jailor (Fanos Xenofos) and both are brought before a mullah judge (George Savvides).

Since it's based on a true story, where this goes is somewhat predictable, but Deratany fills scenes with artful observations, from literary references to quotes about love and humanity from the Quran. What emerges is a sensitive exploration of a society under the grip of Sharia law - although there's a clear sense that this is an oppressive political system using religion as an excuse to dominate and harshly control the population. Especially the female population.

As with most Above the Stag productions, this one is ambitiously staged by director Gene David Kirk and sharply performed in an intimate space. Designer David Shields creates the atmosphere of a prison, with brutal concrete areas that force the characters to toe the line. This immediately establishes a grave tone, lightened in the early scenes with witty asides. After the interval, there's no more levity, and the emotional kicks get increasingly forceful. This is a seriously haunting play that not only highlights the injustice of any tyrannical regime but also tenderly portrays the honest humanity of young people who are just beginning understand that their rulers are oppressors. For these boys it's natural to dream of a bigger world, to yearn for freedom and to find a soulmate in an unexpected place.

Critical Week: Mr Cool

Don Cheadle's passion project Miles Ahead was screened to UK critics just as it was released in the US. It's a strikingly impressionistic biopic, avoiding the usual structure for a more kaleidoscopic approach that's visually impressive and emotionally tricky. Natalie Portman is terrifically steely in the Western Jane Got a Gun, which kind of loses track of its characters as it becomes more focussed on the action violence. Oddly, both films costar Ewan McGregor.

Also this week, Kevin Costner stars in Criminal, a fiendishly entertaining bit of high-concept action set in London. Rebecca Ferguson is solid in two roles in the rather moody Cold War romance Despite the Falling Snow. And Nicolaj Lie Kaas and Fares Fares are back for another cold case in the astutely well-made if oddly un-resonant The Absent One.

Even more interesting was the lunch I attended on Thursday at which the Critics' Circle presented Maggie Smith with our annual award for Services to the Arts, voted on by all six sections of the circle (film, theatre, music, dance, art, books). It was a lively event, and a very rare chance to hang out with the national treasure that is Dame Maggie, who was on great form. Alas, I didn't get up the nerve to tell her that I first saw her in person on-stage at a taping of The Carol Burnett Show when I was only 13!

Coming up this week: Disney's live-action remake of The Jungle Book, the British thriller Hard Tide, the British comedy Adult Life Skills, Peter Greenaway's Eisenstein at Guanjuato, the Bollywood blockbuster Fan and the American politician documentary Weiner.

Critical Week: A secret friendship

This week, London-based critics finally got to see the latest Studio Gibli film When Marnie Was There, which is getting a very late release in the UK (it came out in 2014 in Japan). It's another complex animated film that refuses to talk down to children - deep, intriguing, no easy answers, gorgeously visualised without any gimmicks.

Obviously, the biggest film of the week was Batman v Superman: Dawn of Justice, screened to critics just a day before it opened for obvious reasons (this film doesn't need reviews, it's about fans buying lots of tickets). It's big, loud, simplistic, annoying and worth the price of the ticket. The other big movie for us was The Huntsman: Winter's War, a prequel/sequel to 2012's Snow White and the Huntsman that basically gives fans what they expect, plus two more divas (Emily Blunt and Jessica Chastain, joining Charlize Theron).

Much more fun was Whit Stillman's Love & Friendship, a faithful adaptation of the surprisingly sharp-tongued Jane Austen novel Lady Susan, packed with terrific characters, hilarious dialog and delicious performances from Kate Beckinsale, Chloe Sevigny and Xavier Samuel. And we also caught the improv British comedy Black Mountain Poets, a rather meandering, pointless bit of fluff starring the wonderful Alice Lowe, Dolly Wells and Tom Cullen.

Coming up this week: Don Cheadle's Miles Davis biopic Miles Ahead, Helen Mirren in the drone thriller Eye in the Sky, Rebecca Ferguson in the Cold War thriller Despite the Falling Snow, Kevin Costner and Gary Oldman in the thriller Criminal, and more.

Shadows on the Screen: Spring TV roundup

With Christmas holidays and a screening lull around awards season, I had a bit more time than usual over the past few months to catch up on various television series. As always, this is my vent, a chance to enjoy watching something that isn't work-related. And then here I am writing about it....

NEW & NOTABLE

War & Peace

Sumptuously produced by the BBC, this Sunday evening series couldn't be any more epic if it tried. Andrew Davies' script brilliantly brings the multi-layered plotting of Tolstoy's classic to life, anchored by riveting performances from Paul Dano and Lily James, plus a star-making turn from James Norton. The entire sprawling cast brings texture and emotion to these complex characters and their tumultuous, war-torn lives. And it looks simply amazing.

The Grinder

The best new show this year is this knowing sitcom starring Fred Savage and Rob Lowe as brothers - one's a lawyer, the other played one on a hit TV show and doesn't quite understand that he's not one in real life. Savage and Lowe are a terrific double act, and the writers smartly balance audience sympathies. This means that the ongoing silliness is inspired - warmly involving and knowingly referential. And it's also nicely played in a fresh way that allows the actors to laugh at each other on-screen. 

Dickensian

With 20 episodes, this is a rather extended half-hour series, cleverly imagined by Tony Jordan as a prequel to most of Charles Dickens' novels, as the characters interact in Victorian London's bustling East End. There are some terrific touches along the way, plus standout performances from the Tuppence Middleton as the hapless Miss Havisham and Stephen Rea as a sardonic detective (both are even better in War & Peace). But many of the characters are too cartoonish to register as human beings, and some of the plot gyrations are simplistic and silly.

The Night Manager

Tom Hiddleston got the nation's pulses racing by flashing some well-toned flesh in this adaptation of the John le Carre thriller about a shady hotel worker hired by British intelligence to infiltrate the ranks of a notorious arms dealer. The solid cast also includes Hugh Laurie, Tom Hollander, Elizabeth Debicki and David Harewood, while the show is stolen by the magnificent Olivia Colman, who brings superbly subtle touches to all of her scenes as a heavily pregnant operative. The whole thing looks terrific, and the plot is gripping right up until it turns rather corny in the final two episodes.

ONWARD & UPWARD

The X Files: series 10

After taking a 13-year break (during which there were two big-screen movies), this iconic show came back for a 10th season. Gillian Anderson and David Duchovny are on fine form in their iconic roles as inquisitive FBI agents Scully and Mulder. And series creator Chris Carter has some nice surprises up his sleeve through the six beautifully produced episodes. This show has always been an uneven mix of riveting mystery, murky mythology and downright clunky plotting - and this season is no exception. But when things click into place, few shows offer so many terrific goosebump moments.

House of Cards: series 4

Kevin Spacey and Robin Wright aggressively tear up the screen in this fourth season of their power-mad White House drama. Spacey's Frank is now president, but Wright's Claire isn't going to sit quietly by his side. This season is set during the primaries leading to Frank's first presidential election as a candidate, so it couldn't be much more timely. And while the whole liver-transplant plot element flickers by much too quickly, it adds a deeper, darker layer of intrigue to the goings-on. Fine support as always from Michael Kelly, Mahershala Ali, Molly Parker and Elizabeth Marvel, plus the awesome Ellen Burstyn throwing shade as Claire's estranged mother.

Shameless: series 6

The Gallagher family continues to mess up their lives spectacularly in this underrated black comedy that's getting better with age. William H Macy is on fire this season as the patriarch without a hint of a moral compass. And there are further life-changing twists and turns for five of his children, played with engaging honesty by Emmy Rossum, Jeremy Allen White, Cameron Monaghan, Ethan Cutkosky and Emma Kenney. Plus jaw-dropping developments for neighbours Veronica and Kevin (Shanola Hampton and Steve Howey). It's nice to see a series that gets less fearless as it goes on. Indeed, the show features some of the best acting and writing on television right now.

Galavant: series 2

Opening with a gleeful musical number showing their surprise at being granted a second season, this riotously entertaining musical fairy tale is so infectiously joyful that it's impossible not to love it. Joshua Sasse is wonderful as the charming and somewhat clueless hero, ably supported by Timothy Omundson's even more oblivious deposed king. The entire supporting cast dives in for the fun, including a surprisingly witty Vinnie Jones and a sassy guest appearance from Kylie Minogue. All in all, this is much smarter than it looks, and it leaves fans wanting more.

OFF THE BOIL

The Flash: series 2

I'm still enjoying this show, which has retained its sense of humour and strong characters amid its unnecessarily knotted plot threads. By comparison, Arrow (series 4) became increasingly bogged down in shadowy action and convoluted plotting. Aside from the awful fight choreography, the writers insist on continuing the island flashbacks, which are pointless and, frankly, ridiculous. And the overly twisted storylines leave the strong cast looking as lost as the audience. I gave up about halfway through this season. I tried to watch spin-off Legends of Tomorrow, mainly due to the actors, but the dire action and dumb plots put me off after a handful of episodes. I'm avoiding all other Marvel and DC comics-based TV series - enough is enough.

Modern Family: series 7

For the first time, the strain is beginning to show in this formerly sharp show, as the characters become oddly predictable in the way they spew off witty one-liners and interact with each other in increasingly contrived situations. The strength of this show has been in the way the humour evolved with the characters and actors, but this year feels strangely familiar, as if the writers are stuck in a rut, trying to find humour in situations rather than people. Essentially, this means that the show is in danger of becoming a tired parody of itself (like, for example, Two and a Half Men).

Scandal: series 5

This once-great show has abandoned the weekly scandals and edgy cliffhangers that once made it so addictive. Instead, it has become a corny soap centred around a group of power-grabbing characters who can't seem to function in the real world, are too selfish to relate to each other and all speak with that same shouty voice. All of which is turning it into a parody of House of Cards. It's still watchable due to the ace cast, but I'm wondering how much longer I'll stick with it.

JUST THE FACTS

With Jon Stewart stepping down from The Daily Show last autumn, there's been a shift in the news cycle. Last Week Tonight with John Oliver continues to lead the charge with its intelligent, polished approach, refusing to accept the official take on the big stories while focussing on those that really need to catch the national attention. The Daily Show with Trevor Noah has distinctly changed, with a more stand-up style and less pointed satire. But Noah is finding his feet, and he's finally started getting stronger guests to banter with, which will hopefully hone his interview skills. The real breakout is Full Frontal with Samantha Bee, much smarter and more fearless than the others, with Bee's hilariously on-the-nose observations taking no prisoners. Her segments are easily the most quotable of the bunch, and her insight is bracingly important. On a different tangent, Chelsea Does used four episodes to explore marriage, racism, drugs and the tech world. While Chelsea Handler's observations sometimes slip into goofy self-parody, she also has a way of getting beneath the surface without resorting to the usual cliches, so her take on these four issues is both funny and thought-provoking.

CATCHING UP

Breaking Bad:
2008-2013

So many people have been shocked that I completely missed this series when it was on that I decided to give it a go. It took me about two months to work my way through all 62 episodes. The first two seasons are brilliant - great characters, wonderful writing and acting, clever direction. Then it turns indulgent, murky and far too violent before the final bunch of episodes brings everything full-circle to a skilfully well-realised conclusion. Bryan Cranston is simply perfect (no wonder he won five Emmys for this role). After only ever seeing Aaron Paul (three Emmys) in movies like Need for Speed and Exodus, I now see what a great actor he is and hope he makes smarter choices. And I hope we see more of Anna Gunn (two Emmys) and RJ Mitte too. 

NOW WATCHING: continuing the current seasons for Girls, Empire, Doctor Thorne, The Real O'Neals, The Royals and Schitt's Creek; looking forward to new seasons of Game of Thrones and Unbreakable Kimmy Schmidt.

30th Flare: Moving forward

The 30th BFI Flare came to a close last night with an epic party. I left at 12.15 while it was still in full flow (sadly, the all-night Tube isn't running quite yet!). Here are some final comments on the closing night film (pictured above) and short films I caught over the past 12 days...

Summertime [La Belle Saison] 

dir Catherine Corsini; with Cecile De France, Izia Higelin 15/Fr **** 

An earthy honesty infuses this complex romantic drama set amid the women's rights movement of the early 1970s. But while the politics are strong, it's the intensely personal story and engaging characters that make the film so involving. And it's beautifully directed by Catherine Corsini, drawing out big emotions without even a hint of sentimentality.

I managed to catch 15 short films during the festival, including documentaries, comedies, dramas and even a couple of animated ones. Here are my top 5:

Mother Knows Best (Mikael Bundsen, Swe) tells its story in two shots: a brief prologue and then a stunning 9-minute scene as a mother drives her son through the city, chatting nonstop. She wants to be supportive of his relationship with his new boyfriend, but she inadvertently reveals much darker feelings. Beautifully acted by Alexander Gustavsson and Hanna Ullerstam.

The Guy From Work (Jean-Francois Leblanc, Can) plays like a fly-on-the-wall documentary shot in extreme close-up, which is a bit unnerving as scenes are underscored by the sound of shop machinery rather than music. It centres on a shy middle-aged married man who develops a crush on a talkative colleague and then dares to write him a letter. Provocative and powerful.

Bedding Andrew (Blair Fukumura, Can) is very simple: Andrew Morrison-Gurza is a disabled guy lying on his bed talking about his yearning sexuality, and how frustrating it is that people only seem to want to be with him out of pity. It's raw and honest, especially as this smiley, genuinely nice guy tells some genuinely awful anecdotes and reveals his undying inner hopes.

Dawn (Jake Graf, UK) is a lovely little moment between two people on a park bench as they wait for a bus in the early morning. The guy is blind, the girl is trans, and they both have personal issues that they're not quite ready to deal with openly. There's not much to it, but the misty photography is gorgeous, and it leaves us thinking.

No Strings (Eoin Maher, UK) traces a one-night stand between two guys - one is Welsh, the other Irish - both are looking for something superficial. When the visitor misses his last train home, he has to stay the night, which forces them to get to know each other a bit. It's beautifully played, and very nicely shot to bring the audience right into the story, revealing truths that transcend the gay setting.

30th Flare: Hanging tough

The 30th BFI Flare: London LGBT Film Festival continues on the Southbank through this coming Easter weekend. It's quite a lively atmosphere, with filmmakers mixing with audiences through both casual encounters in the cavernous BFI Southbank complex as well as a series of receptions and parties that run throughout each day. In one day this week, I was able to chat informally with directors and/or actors from five films (apart from scheduled interviews I've had for work). Here are some more highlights as the festival approaches its closing days...

I Promise You Anarchy [Te Prometo Anarquia] 
dir Julio Hernandez Cordon; with Diego Calva, Eduardo Martinez Pena 15/Mexico 1h28 **** 
Earthy and realistic, this drama centres on a group of young skaters roaming the streets of Mexico City. The film has an artful lyricism to it, finding beauty in some very, very dark situations. Clearly, filmmaker Julio Hernandez Cordon is a fan of Gus Van Sant's work, adding his own distinct political/cultural touch.

Henry Gamble's Birthday Party 
dir Stephen Cone; with Cole Doman, Pat Healy 15/US ***. 
Warm and relaxed, this is a knowing exploration of the undercurrents that swell beneath the squeaky clean surface of strongly religious families. With some 20 characters, the film takes on a wide range of issues, all centring on how American Christians are preoccupied with sexuality. And the personal touches make it resonate.

Like You Mean It 
dir Philipp Karner with Philipp Karner, Denver Milord 15/US **. 
This skilfully assembled drama is packed with compelling issues, although it struggles to connect with the audience due to stilted pacing and a somewhat cold approach that doesn't quite break the surface. Essentially it's about that moment when a relationship runs dry. But before resolving this, the film shifts into a pointed depiction of mental health issues... FULL REVIEW >

Coming Out 
dir Alden Peters; with Alden Peters, Ritch Savin-Williams 15/US **** 
Despite the blandly generic title, this documentary has plenty to say about the topic, especially for people living in tolerant societies. Filmmaker Alden Peters filmed the moments he told his family and friends that he was gay, but the bigger issue is his own personal journey to understanding himself. It's a sharply well-crafted film that's both witty and moving.

BEST OF YEAR 
Tangerine
dir Sean Baker; with Kitana Kiki Rodriguez, Mya Taylor 15/US ****.
This film is so fresh and original that it's easy to forget that it was shot entirely on an iPhone, proving that money isn't what makes a movie engaging. With snappy dialog, colourfully complex characters and a farcical plot that's genuinely hilarious, this is a seriously unforgettable Christmas comedy... FULL REVIEW >

30th Flare: Holding on

The British Film Institute's 30th Flare event continues apace all week with a lineup of far above-average films that have an LGBT angle. And along with the superb movies, it's been great to be able to hang out with the filmmakers. I've interviewed a few of them, and just had drinks with others from all over the world, sharing the issues they face in getting these stories told. Here are more highlights...

Holding the Man

dir Neil Armfield; with Ryan Corr, Craig Stott 15/Aus ****

Based on a true story, this Australian drama is evocatively shot and edited, and it's thankfully focussed on its engaging characters rather than the plot or themes. Director Neil Armfield stirs in a sweet, complex mix of emotions as Tommy Murphy's script addresses some very important issues. But the 1970s-1990s setting makes it feel oddly past its time, sometimes overstating the message. Even so, it's honest and powerfully moving. [Pictured above: Stott and Corr with Sarah Snook.]

Departure 

dir Andrew Steggall; with Juliet Stevenson, Alex Lawther 15/UK ****

Dark and introspective, this drama isn't always easy to watch, especially with its sometimes overpowering sense of impending doom. But the performances are so astute that it's impossible to look away. And with his first feature writer-director Andrew Steggall shows remarkable skill at bringing universal experiences to vivid emotional life.

Closet Monster 

dir Stephen Dunn; with Connor Jessup, Aaron Abrams 15/Can ***. 

Filmmaker Stephen Dunn takes a strikingly introspective look into the life of a young boy who feels like his life is spiralling out of control. Beautifully shot and edited, the film mixes artfully stylised flights of fancy with earthy themes that cut to the heart of big issues like bullying and self-loathing. But more than that, this is a thoughtful exploration of someone learning to accept his sexuality... FULL REVIEW >

Ka Bodyscapes 

dir Jayan Cherian; with Jason Chacko, Kannan Rajesh 16/Ind **** 

With a deceptively gentle, observant style, this is a seriously pointed depiction of young people bristling against the harshly extremist culture in Kerala. The film openly challenges the accepted misogyny and homophobia in both Islam and Hinduism. But this is much more than a political film, as the bold writer-director Jayan Cherian keeps the focus on the resonant personal drama.

Seed Money: The Chuck Holmes Story 

dir-scr Michael Stabile; with John Waters, Chi Chi LaRue 15/US **. 

The fascinating life of iconic Falcon Studios founder Chuck Holmes is recounted in this rather lacklustre documentary. The problem is that filmmaker Michael Stabile seems more interested in Holmes' groundbreaking porn movies than in the man himself. But he's also too timid to show proper clips, instead editing them almost comically to get an R rating. Which means that the documentary, while educational, misses the point it might have made.

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C R I T I C A L   W E E K

As for regular releases screened to the press this week, I caught up with Nia Vardalos' sequel My Big Fat Greek Wedding 2, which is the same warm-silly culture-clash comedy as the 2002 original; Zootropolis (aka Zootopia) is lively and entertaining, and also the usual Disney franchise-launching concoction; Idris Elba stars in the energetic anti-terrorism thriller Bastille Day; the French teen-sex drama Bang Gang: A Modern Love Story is too mopey to be as provocative as it wants to be; and Mark Cousins' I Am Belfast is a lyrical but deeply quirky look at the Northern Irish capital.

This coming week I have a very late press screening (tonight) of Batman v Superman: Dawn of Justice plus Natalie Portman in the Western Jane Got a Gun, but most of my time will be spent at Flare.