Animol review – gritty young offenders drama challenges conventional machismo

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Institutional menace and an idealistic take on redemption sit side-by-side in Top Boy actor Ashley Walters’ empathic and occasionally over-earnest film The lawless brutality of a young offender institution is the setting for this British movie written by Marching Powder ’s Nick Love and directed by Ashley Walters. It’s a place where terrified newbies realise they can survive only by abandoning their innocence and decency, and submitting to the gang authority of a psycho top G, naturally involving a horrible loyalty test. This is a place where drugs arrive by drone, where facially tattooed men meet each other’s gaze with a cool opaque challenge in the canteen, and where the cues and balls on the recreation area’s pool table have only one purpose: to give someone a three-month stay in the hospital wing while underpaid guards in lanyards and ill-fitting v-neck jumpers look the other way. Continue reading... from Film | The Guardian https://ift.tt/CLu4l65 via IFTTT
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‘I was making a film about the trauma of an entire country’: director Alice Winocour on her movie about the 2015 Paris terror attacks

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After her brother was caught up in the Bataclan siege, Winocour wanted to address the events that had scarred France. She explains why she focused on the aftermath, not the violence

Even from the safety of her home, the film-maker Alice Winocour’s experience of the Paris terror attacks in November 2015 was terrifying. Her younger brother, Jérémie, was hiding in a back room at the Bataclan concert hall, and forbade her from texting him in case it gave away his location. She had to wait to hear that he made it out alive. Later, he told her about a random thought he had while waiting to die: that he had left a half-eaten yoghurt open in the fridge. What would whoever found it make of his poor kitchen hygiene?

It is a touch of human absurdity that resurfaces in Paris Memories, her new film, about the 13 November attacks. Unlike the recent Jean Dujardin film November, it completely ignores religion and largely passes over the bloodshed. Instead, it joins films such as You Will Not Have My Hate and One Year, One Night to wade through the aftermath. The French title Revoir Paris gets it: starring Benedetta’s Virginie Efira as Mia, a radio translator caught in the crossfire in a cafe, the film focuses on how she reconstructs her memories of that night and with them her inner harmony, as well as that of the city of lights.

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