Post your questions for John Hannah

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Your mum’s favourite star of Four Weddings and a Funeral, Sliding Doors, Spartacus and a new GoPro-filmed thriller is ready to answer your quetions He’s your mum’s favourite, after playing the jolly nice man who is jolly nice to Gwyneth Paltrow in Sliding Doors, and the jolly nice man who delivers the heartbreaking WH Auden eulogy for his partner in Four Weddings and a Funeral . But there is far more to John Hannah than a Scottish accent, magnificent eyebrows and an unrivalled ability to look soulfully concerned. In The Mummy films, he played treasure-hunting comic relief Jonathan Carnahan. In 2002’s Dr Jekyll and Mr Hyde, he took on both halves of Robert Louis Stevenson’s character. He played a psychopathic killer in Truth or Dare, and appeared opposite Denzel Washington in The Hurricane. On TV, he has been a transhumanist scientist in Marvel’s Agents of SHIELD ; a gruff but compassionate emergency medicine chief in Transplant; and a gladiator school owner in the blood-soaked, boobs-...
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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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