Extra Geography review – a sweet and spiky coming-of-age debut

Sundance film festival: two teenage girls find their friendship put to the test in a witty and charmingly odd British comedy If you know, you know that first best friendship is a world unto itself – lush, rugged and expansive, nutritive and intoxicating, vulnerable to freak changes in the weather. Its specific terrain stays invisible to outsiders; only the two within it know, and they themselves are likely to lose it in time. So goes the perilous trekking in Extra Geography, Molly Manners’ nimble and frequently funny debut film, which astutely maps the peaks and valleys of one charged friendship between two adolescent girls at an English boarding school. Minna and Flic, played by remarkable newcomers Galaxie Clear (coming for Chase Infiniti’s name game) and Marni Duggan, begin year 10 sometime in the early 2000s, in a sunny meadow of boundless, heady entanglement. They move in playful unison, share beds and mannerisms, hold common goals (Oxbridge) and disdain (for boys, and those wh...

Hugh Hudson: smash-hit pop classic Chariots of Fire director was a hero of British film

Hudson brought an ad-man’s eye to the brilliant 1981 drama about athletics and bigotry, as well as directing the hilarious Cinzano commercials

As the 1980s dawned, British ad director Hugh Hudson took on his first feature film and made it a legendary hit: an inspirational story which supplied a sugar-rush of patriotism and a swoon of nostalgia which hit the spot both sides of the Atlantic. It somehow brought off the trick of being about the underdog and the victim of bigotry and religious discrimination – and yet also being a resounding endorsement of the status quo which could, on grounds of decency and meritocracy, always accommodate the outsider. This was the era of Margaret Thatcher and Ronald Reagan, and the ethos of success for the hardworking and the deserving.

The film of course was Chariots of Fire, the true story of the 1924 Olympic runners Harold Abrahams (played by Ben Cross), a Jew who ran to defy prejudice, and Eric Liddell (Ian Charleson), a devout Christian who found a creationist glory in his speed. It was the destiny of so many involved to be forever associated chiefly, or solely, with this smash-hit pop classic: certainly Cross and Charleson never again found roles to match Abrahams and Liddell. And maybe Hudson himself never again had a triumph like it: though he was no one-hit wonder, later directing the Oscar-winning Tarzan drama Greystoke, and later Revolution, an epic about the American revolution starring Al Pacino which was derided but then grew in acclaim, giving his Hudson his own misunderstood masterpiece moment.

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