Mark Kermode on… Kathryn Bigelow, a stylish ruffler of feathers

From vampire noir to Bin Laden, Point Break to Detroit, the first woman to win an Oscar for best director has never pulled her punches Watching new Jeff Nichols release The Bikeriders , starring Austin Butler and Tom Hardy as 60s Chicago greasers, I was reminded of two other movies: László Benedek’s 1953 Marlon Brando vehicle The Wild One , explicitly cited as an inspiration, and The Loveless , the 1981 feature debut of Kathryn Bigelow , the American film-maker (b.1951) who would go on to become the first woman to win a best director Oscar with her 2008 war drama The Hurt Locker . A symphony of leather-clad posing (with just a touch of Kenneth Anger ), The Loveless was a staple of the late-night circuit in the 80s, often on a double bill with David Lynch’s Eraserhead . Sharing directing credits with Monty Montgomery, Bigelow playfully deconstructed masculinity and machismo in a manner that was one part wry to two parts relish. I remember seeing The Loveless at the Phoenix in East

Film about children living in darkness on Madrid’s doorstep up for award

Even Though it’s Night, which chronicles the conditions of Europe’s largest shantytown, Cañada Real, in running for a Goya

A short film that chronicles the lives of the forgotten, deprived and marginalised children who live in Europe’s largest shantytown, just outside Madrid, is in the running for Spain’s equivalent of an Oscar at the Goya awards on Saturday.

Aunque es de noche (Even Though it’s Night), which was shot on location in the Cañada Real informal settlement, using a cast of residents, follows 13-year-old Toni as he prepares to say goodbye to his best friend, Nasser, who is moving to France, and to his own childhood.

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