‘I don’t have to create his legacy, I just have to protect it’: Chadwick Boseman’s widow Simone on grieving a global star – and guarding his secrets

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Black Panther made him a megastar, but in private the actor and his wife Simone Ledward Boseman were dealing with his terminal cancer diagnosis. In a rare interview, she talks about the shock of losing him, and how a revival of one of his plays has helped her heal Simone Ledward Boseman is reflecting on the five years that have passed since the death of her husband, actor and writer Chadwick Boseman. “The edges of grief get less sharp over time,” she says. “Five years definitely feels like a marker. I’ve had to gradually figure out how I talk about Chad. What do I want to share, and what do I feel comfortable sharing? Can I find something that I might want to share in the midst of something I don’t want to share?” We meet on a video call across time zones – it’s 9am in California, where she lives. “Except for my mom, I’m not talking to anybody before 10am,” she laughs. She’s made an exception to give a rare interview ahead of the UK premiere of her late husband’s play Deep Azure, whic...
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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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