The Ballad of Suzanne Césaire review – the legacy of a dissident and inspirational surrealist author

Brief film looks at the intense flowering of essays by the Caribbean feminist and anti-imperialist who saw surrealism as a revolutionary mode This brief work from New York film-maker Madeleine Hunt-Ehrlich is the equivalent of a platform performance in the theatre: a look at the works of Caribbean feminist, anti-imperialist and surrealist partisan Suzanne Césaire, played by Zita Hanrot; Hanrot, rather, plays an actress musingly preparing to play her. Césaire’s brief, intense flowering of work occurred in second world war Martinique, then a colony of France, controlled by the collaborationist Vichy government. Paradoxically liberated by this oppressive situation, Césaire co-founded a journal called Tropiques and published an influential series of essays on politics, literature and art, which showed how passionately inspired she was by her encounter with the great surrealist André Breton. Continue reading... from Film | The Guardian https://ift.tt/rx4iLoM via IFTTT

Streaming: Cocaine Bear and the best ‘so bad they’re good’ films

Farcical thriller Cocaine Bear – about a drugged-up bear on the loose – follows in the knowingly naff footsteps of Snakes on a Plane, Sharknado and more

There are some films that feel like a mere addendum to their trailer, and Cocaine Bear is one: an idea that sounds so good and so funny as a quick synopsis that it’s almost immaterial whether the finished film makes much of it or not. Whether or not you’ve seen Elizabeth Banks’s farcical, nominally fact-based thriller, released in cinemas in February, you’re probably aware of its one-line pitch: there’s a bear, you see, that somehow ingests a massive stash of cocaine and goes on an almighty rampage. Chaos ensues. What more do you want from a film?

As it happens, Cocaine Bear is a likably ludicrous romp – ideally suited, now that it’s available on VOD, to a Friday-night watch on the couch with a takeaway. (Perhaps you thought the premise sounded just too silly to justify a cinema trip.) But it never quite matches the zippy energy and gonzo hilarity of its trailer, and it doesn’t really try. It’s a one-joke film that considers its work done when you’ve been sufficiently amused to sit down and watch it.

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