The Invite review – A-list ensemble electrify hilarious couples night gone wrong comedy

Sundance film festival: Olivia Wilde, Seth Rogen, Penelope Cruz and Edward Norton are exceptional in a smart and funny winner about sex, marriage and partner-swapping Not enough people managed to see last year’s self-billed “unromantic comedy” Splitsville , a shame for how tremendously entertaining it was and for what it represents at this given moment. A rigorously well-directed, genuinely funny, relatably messy look at two couples dealing with the maelstrom of non-monogamy, it was the kind of smart, well-crafted film for adults we are constantly complaining we don’t get enough of. I had a similar thrill watching The Invite at its sold-out Sundance premiere on Saturday night. Like that film, it is also about two adult couples negotiating anxieties surrounding sex with other people – and also like that film, it’s really, consistently funny and stylishly directed, made with the kind of care and rigidity that comedies just aren’t afforded now. It doesn’t have the same absurdist slaps...

Rojek review – unsettlingly intimate portraits of Islamic State militants

Documentary collects sequence of interviews with prisoners, not all repentant, alongside footage of war-blasted Syrian Kurdistan

Here is an astringent, devastating and truly extraordinary film that is hard work to watch, but entirely worth it. Rojek probes the roots and fallen leaves of the Syrian civil war, a conflict the western media has practically forgotten as news of Ukraine and Gaza-Israel-Yemen dominates international reporting. Director Zayne Akyol, heard off-camera throughout, interviews members of Islamic State, now being held in high security prisons by the Syrian Democratic Forces, about their lives, with some recalling more innocent days when they hunted goldfinches to sell in markets or liked Canadian pop music. Many recount how they were recruited into IS by cells in local mosques in assorted countries – Germany, say, or Saudi Arabia – and came to have positions both high-ranking and menial in the organisation in the part of Syria with a dense Kurdish population.

In the film’s present, some are still unrepentant, believers that they fought honourably in a holy war; others see things differently and are riven with regrets. Some are women who recall their time of service to IS as the happiest days of their lives. In stately procession, each person speaks straight to the camera in almost disconcerting closeup, and however repugnant some of the things they say might be, it’s impossible to not recognise and see most of them as broken human beings.

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