John Lennon: The Last Interview review – Soderbergh imagines there’s no people with bland AI clipshow

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Succession of pointless AI-generated snippets does nothing for film about the artist’s final interview, which took place on the day of his murder Coming just after his superb feature The Christophers , Steven Soderbergh has now made a surprisingly moderate documentary, dominated and frankly marred by uninteresting and pointless AI. It is about the inadvertently poignant final interview given by John Lennon and Yoko Ono on 8 December 1980 in New York’s Dakota apartment building, hours before his death. The interviewers were Dave Sholin, Laurie Kaye and Ron Hummel from San Francisco’s KFRC radio station. On their way out of the building with the conversation on tape, they were accosted by a creepy stalker-fan; in attempt to calm the man down, Kaye gave him a brand new copy of John and Yoko’s new album Double Fantasy. This sinister man was Lennon’s future murderer who got him to sign an album – perhaps this very album – and later shot him dead. It is a chilling, stomach-turning twist of f...
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Streaming: Past Lives and the best immigrant stories on film

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One of the year’s best films, Celine Song’s Korean-American love story, now on streaming and DVD, continues cinema’s rich tradition of immigrant stories, from Chaplin to Persepolis

Awards season often tends to benefit the newer, shinier end-of-year releases that are freshest in voters’ memories, but Celine Song’s lovely, low-key Past Lives appears to be quietly staying the course. Having premiered way back in January, hit cinemas in the summer and since become available to stream – with the DVD out last week for physical media loyalists – it is now routinely popping up on best-of-2023 lists, and scooped best feature at the Gotham awards in the US. Something sticks in the mind and heart about Song’s melancholic, gentle but emotionally acute tale of a rekindled relationship between a Korean-American immigrant and the childhood friend she left behind in Seoul. Anyone whose life has been split across countries can relate to its study of the split identities and frayed possibilities of immigrant existence.

It’s those infinitely complex internal tensions – at once universally recognisable and particular to each individual – atop external fish-out-of-water challenges that make the immigrant experience such a rich and recurring film subject. As early as 1917, English émigré Charlie Chaplin distilled all those dynamics in his 22-minute short The Immigrant (Internet Archive), playing his signature Little Tramp character’s calamitous voyage to, and overwhelmed arrival in, New York for maximum comedy and pathos. Nearly 100 years later, American director James Gray took the same title for a rather more solemn look at a European ingenue seeking a new life in the Big Apple, meeting with ugly exploitation and poisoned ardour. Gray’s The Immigrant (2013) plays as symphonically grand tragedy, but retains that old romantic mythos around the US as a place to make or remake yourself.

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