Everybody Digs Bill Evans review – absorbing delve into the tumultuous world of the great jazz man

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Grant Gee’s film thoroughly inhabits the creative and personal torment experienced by the American pianist – with a terrific supporting Bill Pullman turn This elusive, ruminative and very absorbing movie presents its successive scenes like a sequence of unresolved chords carrying the listener on a journey without a destination – and is, incidentally, one of those rare films featuring a wonderful supporting turn that does not undermine or upstage the rest. It’s a film about music. Particularly, about what remains when a musician cannot play and is left to consider the terrible sacrifices made, without conscious consent, to this all-consuming vocation that creates family pain and jealousy almost as a toxic byproduct. It’s a drama to put you in mind of Glenn Gould and Hilary du Pré, sister of Jacqueline. Screenwriter Mark O’Halloran has adapted the 2013 novel Intermission by Owen Martell about renowned jazz pianist Bill Evans. It focuses on a period of emotional devastation for Evans, ...
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‘It’s unsustainable’: can Hollywood survive without transformation?

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Despite the success of Barbenheimer, the industry faces strikes, AI concerns and an untenable situation for those not at the top

It was a pink mushroom cloud that even enveloped the White House. “Did you see Barbie or Oppenheimer this weekend?” a reporter asked the press secretary, Karine Jean-Pierre. She replied: “I knew I was going to get that question. I did not. But heard that it did very well.”

Both films did very well: Barbie collected $162m in ticket sales while Oppenheimer, about the father of the atom bomb, earned $82.4m. It was comfortably the best weekend at the domestic box office since the coronavirus pandemic. But when future historians come to study the “Barbenheimer” phenomenon, they may still have a question: was this the dawn of a Hollywood renaissance or glorious last stand of an industry in decline?

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