The devil wears Primark: is the romcom reporter about to get the sack?

Glamour? Money? Hope? They’re so last season. With fashion magazines on their knees, where does that leave The Devil Wears Prada 2 – and its famously relatable heroine? Runway magazine is collapsing. Miranda is eating in the cafeteria and flying economy. Andy is the new features editor. Emily is dating a billionaire. Somebody dies. Amelia Dimoldenberg makes a cameo. But the one unexpected detail in The Devil Wears Prada 2 that I can’t stop thinking about is this: Andy worries that she’ll never be in a position to unfreeze her eggs. “Left New York for 15 years, not married – never found the right person, and my kids are at a doctor’s office on 85th,” she breezily reports to Emily when they reunite after 20 years. “They’re eggs,” she clarifies, adding that she is excited to have children. And in that moment, I couldn’t help but wonder: was the woman who once had the job “a million girls would kill for” always this relatable? Continue reading... from Film | The Guardian https://ift.tt/...

Club Zero review – not much to chew on in this baffling non-satire

Jessica Hausner’s film, which avoids spelling out its obvious subject, focuses on a group of schoolgirls encouraged to live without food

Jessica Hausner is the Austrian director whose elegant, refrigerated style has made her a Cannes favourite and her 2009 film Lourdes, about the ordinary world of miracles, is a 21st-century classic. But her recent move to English-language movies has resulted in some nebulous work in the shape of her 2019 picture Little Joe, and so it has proved again with this exasperating and baffling movie.

Club Zero is a strenuous, pointless non-satire which fails to say anything of value about its ostensible subjects: body image, eating disorders and western overconsumption. The “trigger warning” at the beginning of the film about these issues is fatuous, whether intended ironically or not. The deadpan mannerisms are glib, the line readings are torpid in the wrong way and the laborious drama leads us round and round and round like an Escher staircase. But it is certainly well shot by Martin Gschlacht and punctiliously designed by Beck Rainford.

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