Brigitte Bardot, French screen legend, dies aged 91

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Bardot became a celebrated sex symbol in 1950s and 60s, but later embraced animal rights activism and an increasingly controversial political stance • Brigitte Bardot: a life in pictures • Peter Bradshaw on Brigitte Bardot – a zeitgeist-force and France’s most sensational export Brigitte Bardot, the French actor and singer who became an international sex symbol before turning her back on the film industry to become an animal rights activist, has died aged 91. “The Brigitte Bardot foundation announces with immense sadness the death of its founder and president, Madame Brigitte Bardot, a world-renowned actress and singer, who chose to abandon her prestigious career to dedicate her life and energy to animal welfare and her foundation,” it said in a statement sent to Agence France-Presse on Sunday, without specifying the time or place of death. Continue reading... from Film | The Guardian https://ift.tt/upgxtaC via IFTTT
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The Idiots review – Lars von Trier’s appalling-taste Dogme satire is irritatingly original

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Whether intended as a satire of bourgeois hypocrisy or not this tale of boorish nihilists announced von Trier as a consummate provocateur

Lars von Trier’s film from 1998 is re-released as part of the ongoing retrospective dedicated to this director, a film pioneeringly shot on digital video according to the minimalist guidelines of the Dogme 95 collective, which undoubtedly helped create an affordability-revolution in indie film-making. After a quarter of a century, The Idiots looks as cheerfully shallow, smug and manipulative as anything he has ever done, yet revisiting this needlingly insistent and epically tiresome film does bring into focus the way in which the debate around disability representation has changed, and also the subversive prank aesthetic that has to some degree governed the entire career of this unique film-maker.

The Idiots is about people playing tricks, gigglingly pretending to have cerebral palsy or some form of learning disability in order to freak out the uptight bourgeois in their restaurants and workplaces – and, of course, the cinema auditorium. They callously call it “spassing”, or use the English phrase “mentally retarded”. Karen (Bodil Jørgensen) is a deeply unhappy woman, in shock after a tragedy in her life which is explained only at the very end. Dining alone in a restaurant one day, she is intrigued at what appears to be a group of disabled adults there, minimally controlled by their carer and embarrassing the other diners, whose fastidious politeness prevents them from expressing their obvious disapproval and disgust. Karen goes back with these people to their house, where she finds they are simply pretending: a commune-cult led by the charismatic Stoffer (Jens Albinus) whose wealthy uncle owns their HQ and believes his nephew to be house-sitting the property prior to it being sold off.

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