Little Trouble Girls review – monstrous choirmaster spikes a sublime Catholic coming-of-age tale

Utterly absorbing Slovenian debut reinvents the cliched idea of a Catholic girl’s sexual awakening, and proves that no teacher can be as cruel as a music teacher This elegant and mysterious debut from Slovenian director Urška Djukić, with its superb musical score and sound design, reinvents the cliched idea of a Catholic girl’s sexual awakening. It’s also proof, if proof were needed, that no teacher in the world can be as cruel and abusive as a music teacher. We have already seen JK Simmons’ terrifying jazz instructor in Damien Chazelle’s Whiplash and Isabelle Huppert’s keyboard monster in Michael Haneke’s The Piano Teacher; now there is Slovenian actor and musician Saša Tabaković playing a demanding, yet insidious choirmaster in charge of a group of talented, vulnerable teenage girls. The film incidentally has a lesson for any teenage person watching: if a music teacher asks you to sit next to them on the piano stool with no one else in the room and murmurs “You can confide in me” … ...

Best films of 2023 in the UK: No 4 – 20 Days in Mariupol

Filmed as Russia invaded Ukraine’s port city, Mstyslav Chernov’s documentary is gruelling, compelling and vital

Mstyslav Chernov’s horrifying eyewitness documentary 20 Days in Mariupol is about Vladimir Putin’s brutal siege of the Ukrainian port city, from February to May 2022, resulting in more than 20,000 deaths. It is effectively the director’s cut: the gruelling unexpurgated text of this Associated Press journalist’s original video reports from within the city for western news outlets. They were, even in their packaged version, gruellingly tough – and Chernov’s images of mass graves did a very great deal, even in edited form, to galvanise western opinion and to subdue dissenting thoughts that supporting Zelenskiy wasn’t worth it and that Nato had provoked the Russians.

But the full material is wrenching: this film is really a broadcast from hell on earth. Chernov shows in unflinching detail the shattered bodies of men, women and children, and even more unbearably shows the agony of loved ones sobbing over the corpses: a blaze of emotional pain almost obscene in its directness. And Chernov and his photographer Evgeniy Maloletka are themselves part of the story. Their subjects are always reacting to their appearance: sometimes they angrily tell the film-makers to go away. But sometimes, and with almost the same kind of despairing rage, they tell them to stay, to record what they are going through, to be a witness to the horror. Ukrainian troops at one stage rescue Chernov and Maloletka from a hospital in which they had been trapped by snipers. Their capture by Russian personnel would undoubtedly have been a counter-propaganda coup for Putin.

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