‘Get away from there – run!’ The stunning film about love blossoming amid the carnage of Aleppo

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Birds of War is an award-winning docudrama in which its own directors fall in love while reporting the horrors in Syria. They explain why they needed a psychotherapist to complete it The air is thick with smoke and dust, the ground littered with the twisted remains of burning vehicles. Children scream and sirens blare as activist and videographer Abd Alkader Habak rushes to help the injured after the bombing of an evacuee convoy in Aleppo at the height of Syria’s civil war in 2017. A voice note bubble pops up on Habak’s phone screen. “My bird are you OK?” says BBC journalist Janay Boulos. “Get away from there, run.” For more than a year, Habak and Boulos have been working to document Syrian dictator Bashar al-Assad ’s atrocities against his own people, their connection deepening all the time despite the physical distance. But this exchange represents the moment the pair’s relationship shifts from colleagues to something more. “I don’t want footage,” Boulos says, fear clearly detectable...
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Napoleon review – Joaquin Phoenix makes a magnificent emperor in thrilling biopic

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Ridley Scott dispenses with the symbolic weight attached to previous biopics in favour of a spectacle with a great star at its centre

Many directors have tried following Napoleon where the paths of glory lead, and maybe it is only defiant defeat that is really glorious. But Ridley Scott – the Wellington of cinema – has created an outrageously enjoyable cavalry charge of a movie, a full-tilt biopic of two and a half hours in which Scott doesn’t allow his troops to get bogged down mid-gallop in the muddy terrain of either fact or metaphysical significance, the tactical issues that have defeated other film-makers.

Scott cheekily imagines Napoleon firing on the pyramids in the Egyptian campaign as well as witnessing the execution of Marie Antoinette (but not the humiliation of Louis XVI by the Tuileries mob, which he might actually have seen). Out of deference moreover, Scott and his screenwriter David Scarpa suppress all mention of Napoleon’s reintroduction of slavery into the French colonies. But above all, there’s a deliciously insinuating portrayal of the doomed emperor from Joaquin Phoenix, whose derisive face suits the framing of a bicorne hat and jaunty tricolour cockade. Phoenix plays Napoleon as a military genius and lounge lizard peacock who is incidentally no slouch on horseback. Others might show Napoleon as a dreamy loner, but for Scott he is one half of a rackety power couple: passionately, despairingly in love with Vanessa Kirby’s pragmatically sensual Josephine. Scott makes this warring pair the Burton and Taylor of imperial France.

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