‘Put an end to this war’: Russian director Andrey Zvyagintsev makes new plea to Putin

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After winning the Grand Prix at Cannes film festival, the exiled auteur sent a direct message to the Russian president urging him to stop the war Accoladed director Andrey Zvyagintsev has sent a direct message to Vladimir Putin urging him to start listening to the Russian people and end the “senseless” war in Ukraine, continuing a war of words between Russia’s most revered living film-maker and the Kremlin that started at the Cannes film festival awards ceremony over the weekend. “Except for the limbs torn off from your fellow citizens in the name of an illusory goal, except for the massacre of young people that the country needs to build life and the future – nothing good is on the horizon if we don’t stop,” the exiled auteur said in a message sent to the Russian president’s press secretary through official channels on Tuesday. Continue reading... from Film | The Guardian https://ift.tt/Sp9enha via IFTTT
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Olivia Colman and Jessie Buckley: ‘Never repress a woman – because it will come out’

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The actors star in a true-life 1920s tale of a snobbish small town upset by poison-pen letters. They discuss falling in love with one another, the f-word and the parallels with today’s internet trolling

On 23 September 1921, a letter arrived at the home of Edith Swan, a laundress in the seaside town of Littlehampton, addressed to “the foxy ass whore 47, Western Rd”. One of the milder letters that had been plaguing the Sussex community for three years, it continued: “You foxy ass piss country whore you are a character.” Swan blamed a neighbour, Rose Gooding. But the post-office clerk and the local police had other suspicions, which drove them to rig up a periscope to spy on deliveries to the town’s post box and marking postage stamps with invisible ink.

The combination of filthy poison pen letters and DIY sleuthing in a quaint small-town setting is a gift for the star pairing of Olivia Colman and Jessie Buckley. Directed by Thea Sharrock with a screenplay by Jonny Sweet, and stuffed with classy character actors, Wicked Little Letters blows a raspberry at the Agatha Christie tradition of cosy crime stories. It also undercuts the Downton Abbey image of British social history which, says Buckley, “gives everybody the idea that people are kind of lovely when actually there’s a little bit of dirt under everybody’s pretty teacup. Everyone loves a good swear, even the ones that say they don’t.”

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