Gold Songs review – story of love and longing in Mozambique’s desperately dangerous goldmines

Ico Costa’s film follows a young man who leaves his sweetheart in search of better fortune in the perilous mines in the north of the country Love heartbreakingly clashes with economic difficulties in Ico Costa’s third feature, shot on location in Mozambique and featuring non-professional actors. The film opens on a gentle moment between Domingos (Domingos Marengula) and Neusia (Neusia Emídio Guiamba), their figures wrapped in the velvety half-light of the early dawn. Lying in bed together, the young couple sleepily talk of mundane trivialities but their tender gaze seems to speak louder than words; locked in each other’s arms, the pair will soon spend the rest of the film apart. Unsatisfied with the meagre earnings he makes from washing cars, Domingos leaves his home town for the dangerous goldmines in the north of the country. When he enters this precarious trade, the camera trails behind his footsteps as he passes through rocky terrains and makeshift tents. It’s an interesting styl...

‘It’s unsustainable’: can Hollywood survive without transformation?

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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