Cristian Mungiu wins second Palme d’Or at Cannes for child abuse drama Fjord

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English-language debut by Romanian director who triumphed in 2007 with 4 Months, 3 Weeks and 2 Days takes top prize Nineteen years after his searing abortion drama 4 Months, 3 Weeks and 2 Days won the top prize at the Cannes film festival, Cristian Mungiu’s English-language debut, Fjord , has repeated the trick. The film – which stars Renate Reinsve and Sebastian Stan as Romanian religious parents who relocate to Norway, where they find themselves accused of child abuse – makes Mungiu, 58, the 10th director to have received two Palmes, following Alf Sjöberg, Francis Ford Coppola, Bille August, Emir Kusturica, Shōhei Imamura, the Dardenne brothers, Michael Haneke, Ken Loach and Ruben Östlund. Continue reading... from Film | The Guardian https://ift.tt/gwJAmen 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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