‘Suspension of entry into the US’, paparazzi – and wine: three other reasons George Clooney moved to France

A UK government warning that Amal Clooney risks US sanctions over her role in the issuing of an arrest warrant for the Israeli prime minister is key among reasons the couple have sought French citizenship The exodus from Hollywood to shores not presided over by Donald Trump has been busy and loud. Ellen DeGeneres, Robin Wright and Courtney Love moved to England; Rosie O’Donnell opted for Ireland; Eva Longoria, Spain. Other Trump critics, including Richard Gere, Lena Dunham and Ryan Gosling, have upped sticks without citing the re-election as a motivating factor. In the case of Clooney, however, there has appeared little doubt that his decision to gain French citizenship was primarily because of Trump, whose re-election he energetically campaigned against. Yet amid the heat and headlines generated by the pair’s war of words, some of the actor’s reasons for relocating may have flown under the radar. Continue reading... from Film | The Guardian https://ift.tt/GULvaWe via IFTTT

Vaychiletik review – beautifully-shot Mexican folk music study in the high arthouse style

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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