The Ballad of Suzanne Césaire review – the legacy of a dissident and inspirational surrealist author

Brief film looks at the intense flowering of essays by the Caribbean feminist and anti-imperialist who saw surrealism as a revolutionary mode This brief work from New York film-maker Madeleine Hunt-Ehrlich is the equivalent of a platform performance in the theatre: a look at the works of Caribbean feminist, anti-imperialist and surrealist partisan Suzanne Césaire, played by Zita Hanrot; Hanrot, rather, plays an actress musingly preparing to play her. Césaire’s brief, intense flowering of work occurred in second world war Martinique, then a colony of France, controlled by the collaborationist Vichy government. Paradoxically liberated by this oppressive situation, Césaire co-founded a journal called Tropiques and published an influential series of essays on politics, literature and art, which showed how passionately inspired she was by her encounter with the great surrealist André Breton. Continue reading... from Film | The Guardian https://ift.tt/rx4iLoM via IFTTT

Queens of the Qing Dynasty review – unsettling but rewarding study of an unlikely friendship

Hypnotic odd-couple story of a teenager struggling with her mental health and a carer exploring their gender

At times it feels like Canadian director Ashley McKenzie is setting a challenge with this: are you arthouse enough? Have you got the cinematic endurance? Her film is the story of a friendship between a neurodivergent teenager called Star struggling with her mental health, and a hospital volunteer newly immigrated from China. You could imagine it being turned into a quirky-cute odd-couple indie comedy with a superficial take on neurodivergence. Instead, McKenzie pulls us into Star’s reality, how she experiences the world. It’s a disorientating, unrelaxing two-hour experience, but rewarding.

It is set in the middle of winter in Nova Scotia, with snow up to the height of car roofs. Star (brilliantly played by Sarah Walker) has been admitted to hospital after drinking poison – not her first suicide attempt. A doctor recognises her from the last time, but Star doesn’t remember him. “Must have been in nervous breakdown mode.” She speaks in unfiltered streams of consciousness like this, eyes blank and glazed. Star has been in foster care for years; we never find out why, though she blurts out a terrible fact about her past in one scene. All the while, a jarring electronic score pings away, seeming to signal her heightened awareness of the world. On the ward, Star meets An (played by Ziyin Zheng, who uses “they” and “them” pronouns). An is an outsider, too: an immigrant from China who is exploring their gender. Something between the pair clicks. An tells Star about concubines in ancient China; this is the life An craves: “I want to be a trophy wife.”

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