What the Hellenic! Why is Christopher Nolan’s new Greek epic entirely devoid of Greeks?

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Set to be this year’s biggest blockbuster, The Odyssey’s cast has been selected to ‘represent the world’. Fair enough – except that one key country seems to have gone completely unrepresented … There are the American accents, gleaming body suits and a muddy Dunkirk palette. And then there is Lupita Nyong’o as Helen of Troy, a casting choice that recently drew racist attacks from the usual moaners of the internet , including Elon Musk, who complained it wasn’t authentic. Authenticity matters. He’s just focusing entirely in the wrong place. To many Greeks, what concerns us most about the first look at Christopher Nolan’s adaptation of Homer’s Odyssey is the whereabouts of Billy Zane. Zane, like other beloved members of the Greek diaspora in Hollywood, has recently appeared on “Alternative Odyssey” lists on the Greek side of social media, as well as over dinner table debates from Patras to Palmers Green. (Theo James, Jennifer Aniston, Hank Azaria, and Dave Bautista are among the other no...
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Rojek review – unsettlingly intimate portraits of Islamic State militants

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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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