The Morrigan review – spirit of pagan demon queen unleashed in Irish burial chamber horror

Archaeologists blunder into an ancient and unwittingly release a vengeful monster – with predictable and conventional results In Irish folklore, the Morrígan is a powerful goddess of death and war. This horror movie imagines her as an actual historical figure: a pagan queen massacred with her followers by Christians. A quick scene at the start of the film shows the dirty deed. The Morrígan’s rage against misogyny has screamed down through the centuries – so it’s a shame the film frames her not as a feminist icon but a highly conventional horror movie nemesis; a malign vengeful female to be crushed and destroyed. There is nothing to punch the air about in the end. Saffron Burrows plays an archaeologist called Fiona who has been repeatedly passed over for tenure at her US university. When Fiona presents her radical theory that the myth of the Morrígan may have a basis in real life, her slippery colleague Jonathan (Jonathan Forbes) is made the lead on the dig. Fiona is forced to bring al...

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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