Animol review – gritty young offenders drama challenges conventional machismo

Institutional menace and an idealistic take on redemption sit side-by-side in Top Boy actor Ashley Walters’ empathic and occasionally over-earnest film The lawless brutality of a young offender institution is the setting for this British movie written by Marching Powder ’s Nick Love and directed by Ashley Walters. It’s a place where terrified newbies realise they can survive only by abandoning their innocence and decency, and submitting to the gang authority of a psycho top G, naturally involving a horrible loyalty test. This is a place where drugs arrive by drone, where facially tattooed men meet each other’s gaze with a cool opaque challenge in the canteen, and where the cues and balls on the recreation area’s pool table have only one purpose: to give someone a three-month stay in the hospital wing while underpaid guards in lanyards and ill-fitting v-neck jumpers look the other way. Continue reading... from Film | The Guardian https://ift.tt/CLu4l65 via IFTTT

‘I want to make movies for my people’: Jane Schoenbrun on making a soon-to-be cult classic

The writer-director’s film I Saw the TV Glow brings together themes of fandom, pop culture obsession and trans identity

For the writer-director Jane Schoenbrun, making their highly anticipated follow-up to the breakout indie horror We’re All Going to the World’s Fair was a starkly different process. While their debut cost about $100,000 to make and felt like the result of 10 people running wild in the woods somewhere, far off the grid, I Saw the TV Glow was something else entirely: a budget larger than anything they had worked with before, a giant machine where everything had to move in careful synchronization.

“It was so different that it was almost like working in a different medium,” Schoenbrun said. “I really tried to take advantage of that with this film. I tried to make something that could be like almost painted. So many images in this film were so labored over.”

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