‘Suspension of entry into the US’, paparazzi – and wine: three other reasons George Clooney moved to France

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A UK government warning that Amal Clooney risks US sanctions over her role in the issuing of an arrest warrant for the Israeli prime minister is key among reasons the couple have sought French citizenship The exodus from Hollywood to shores not presided over by Donald Trump has been busy and loud. Ellen DeGeneres, Robin Wright and Courtney Love moved to England; Rosie O’Donnell opted for Ireland; Eva Longoria, Spain. Other Trump critics, including Richard Gere, Lena Dunham and Ryan Gosling, have upped sticks without citing the re-election as a motivating factor. In the case of Clooney, however, there has appeared little doubt that his decision to gain French citizenship was primarily because of Trump, whose re-election he energetically campaigned against. Yet amid the heat and headlines generated by the pair’s war of words, some of the actor’s reasons for relocating may have flown under the radar. Continue reading... from Film | The Guardian https://ift.tt/GULvaWe 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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