Wicked forever: the enduring appeal of The Wizard Of Oz

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Musical sequel Wicked: For Good, enchanting audiences across the world, arrives as the 1939 fantasy continues to dominate pop culture Most of the biggest streaming services are notoriously neglectful of any movie released before the 1990s (and in some cases, before the turn of the millennium). Even the big theatrical nostalgia screenings are starting to creep into the 21st century, as movies that, to the older among us, don’t seem ready for a multi-decade anniversary. (Did Batman Begins really just turn 20 ?! Is Mean Girls seriously old enough to drink ?) So it’s all the more impressive that one of the hottest properties of the past few years has been ... The Wizard of Oz , a movie far closer to its 100th anniversary than its 25th. Of course, The Wizard of Oz as (shudder) intellectual property dates well before the 1939 release of the beloved MGM musical. L Frank Baum published The Wonderful Wizard of Oz at the turn of the previous century, in 1900. It spawned 13 increasingly eccentr...
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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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