Stockard Channing: ‘I cried at the election of Joe Biden, thinking we were out of the woods. Wrong!’

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The actor on being told she was no Ingrid Bergman, forgetting her lines on stage, and not caring about getting older Born in New York City, Stockard Channing, 82, played Rizzo in the 1978 film Grease. In 1985, she received a Tony for her performance in A Day in the Death of Joe Egg, and in 1994 was Oscar-nominated for her role in the film Six Degrees of Separation. She has three Emmys for her TV work, which includes The West Wing. She makes her directorial debut at the Edinburgh festival with Krapp’s Last Tape, in aid of the Wembley to Soweto Foundation, Upstairs at the Roxy until 31 August. Her latest film is Practical Magic 2. She lives in London. What is your greatest fear? Climate change. Continue reading... from Film | The Guardian https://ift.tt/tU3oZP1 via IFTTT
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Best films of 2023 in the UK: No 7 – Saint Omer

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Alice Diop’s award-winning courtroom drama doubles as an unsentimental study in empathy with one of the year’s most mesmerising performances

At this year’s Venice film festival, Alice Diop’s unblinking stunner Saint Omer was handed the prize for best debut film – a reward that would have seemed inadequate if it hadn’t shortly afterwards taken the grand prix in the main competition, and inaccurate under any circumstances. Diop’s film is only a debut if you’re happy to disregard documentary as a lesser branch of cinema that somehow doesn’t count; as her first dramatic feature, Saint Omer merely extends the clear-eyed gaze and burning social interest of her non-fiction work into new narrative terrain, with nary a tremor of uncertainty. Films like We showed Diop has form in braiding truth, storytelling and intense human scrutiny; Saint Omer isn’t so very different.

The surprise is that Diop’s entry into fiction takes the form of a courtroom drama, among the most rigidly procedural and rule-bound genres in the medium – only to strip it of its expected structures and rhythms, centring disordered interior feeling amid unyielding legal process. The case, drawn from a real-life 2016 headline-maker in France, is stark and horrifying: legally straightforward, perhaps, but psychologically tumultuous. Young Senegalese Frenchwoman Laurence Coly (Guslagie Malanda, often scarcely moving a muscle while giving one of the year’s most mesmerising performances) is accused of murdering her infant daughter. She doesn’t deny the act, but claims sorcery was to blame, sticking calmly to her story over days of frustrating testimony – shot by Claire Mathon with penetrating stillness, allowing the viewer to take in her micro-shifts in expression and intonation, her consistency of comportment, her occasionally lofty turns of phrase, as she repeats her awful confession over and over.

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