One Battle After Another defeats Hamnet and Sinners at Baftas, as I Swear’s Robert Aramayo takes best actor

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Paul Thomas Anderson drama enters final Oscars furlong as firm favourite after scoring six awards, as Hamnet’s Jessie Buckley becomes first Irish actor to win leading actress Bafta and Chalamet and DiCaprio denied leading actor award Full list of winners How the ceremony unfolded – the action as it happened One Battle After Another, Paul Thomas Anderson’s counterculture comedy about a washed-up revolutionary trying to protect his daughter from a ruthless military officer, has dominated the Baftas, taking home six awards including best film, best director, best cinematography, best editing, best supporting actor, and best adapted screenplay. The film, inspired by Thomas Pynchon’s Vineland , was nominated for 14 awards going into Sunday’s ceremony, the most of any contender – including nods for stars Leonardo DiCaprio, Sean Penn, Benicio del Toro, Chase Infiniti and Teyana Taylor. Continue reading... from Film | The Guardian https://ift.tt/f8BrwG1 via IFTTT
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Vaychiletik review – beautifully-shot Mexican folk music study in the high arthouse style

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A tender film about the music of Mayan descendants is hampered by the alofty adherence to a documentary aesthetic where nothing is explained

This film about a flute player and farmer named José Pérez López from Zinacantán in Chiapas, Mexico, teems with beautifully shot images of folks playing music, embroidering, participating in days-long community rituals, and tending their crops of flowers in polytunnels – pretty normal everyday stuff. It feels a little more elevated because it affords a glimpse into the life of descendants of the Mayans who practice ancestor worship and polytheistic beliefs but also have shrines with Catholic saints. The film’s website has a handy chunk of text about Bats’i son ta Sots’leb, the traditional music of Zinacantán, described in fascinating musicological detail.

It’s a shame that kind of explanatory background can’t be found anywhere in the movie. In fact, the subtitles and dialogue never even give the names of the people we are observing for most of the running time. You can only work out that the old guy is named José, and the woman who laughingly scolds him for drinking so much is Elvia Pérez Suárez, presumably his wife, and that they also live with a hard-working younger man named Esteban Pérez Pérez (presumably José and Elvia’s son) and some even younger kids: Esteban’s children? Random kids from next door? Who knows, because this scrupulously verité-style film is determined to adhere to the high-arthouse documentary aesthetic wherein nothing is explained, nothing is contextualised, and there’s no sense of what point or purpose this all serves other than a little digital tourism to a far-flung corner of the globe.

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