Breakfast with Gosling, grilled by Spielberg, burned by Star Wars: Lord and Miller are cinema’s hottest duo

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From directing The Lego Movie to becoming a single entity, Phil Lord and Chris Miller have had quite the ascent. Now, sending one of the globe’s best actors to his cosmic doom in Project Hail Mary, they’re aiming for the stars When Phil Lord and Christopher Miller were starting out in Hollywood – long before they became a popcorn-flick industry unto themselves with The Lego Movie, the Jump Street films, the Spider-Verse franchise and their latest, Project Hail Mary – the duo found themselves summoned before a panel at the formidable Directors Guild of America (DGA). Lord and Miller wanted to be credited, as they would be for the rest of their career, as co-directors, and that was something the DGA – which, as Miller puts it, prefers “one set of hands on the steering wheel” – was uneasy about. In order to get approval, the pair would have to plead their case to some very famous peers. “It was like a Senate hearing,” says Miller, his eyes widening at the memory. “Steven Spielberg and J...
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Grace review – monumentally odd father-daughter odyssey via mobile cinema

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Travelling across Russia in mostly silence, Ilya Povolotsky’s debut feature has a strange confidence in its own insistent dispiritedness

With long journeys in a red camper van, long unbroken shots of shattered Caucasian landscapes, and very long silences between its alienated father and daughter, Ilya Povolotsky’s debut feature has a strange confidence in its own monumental dispiritedness. “I want to know that you have a plan,” says the teenager. “And that we won’t get stuck somewhere outside Khabarovsk with a chicken and a sad librarian woman.” This being a Russian art film, you wouldn’t bet against it.

The two unnamed characters, played by Maria Lukyanova and Gela Chitava, are making their way across the country for unspecified reasons, other than her desire to see the sea. They run a small mobile cinema out of their van for wan residents of purgatorial steppe towns and flog snacks and porn by night at sketchy truck stops for the hauliers who aren’t with sex workers. The father has transient liaisons of his own, adding an accusatory edge to his daughter’s faraway gaze, frequently fixed on nothing. Things aren’t looking up when they reach the sea; local people are scooping dead fish off the foreshore. “Fish plague,” says a police officer. “You’d better leave now.”

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