‘It deals with my own blood, my inheritance’: Asia Argento on historical trauma in Death Has No Master

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Cannes film festival: The actor’s role in Jorge Thielen Armand’s Venezuela-set surrealist thriller explores deep-rooted tensions of ownership and colonialism In Death Has No Master, Asia Argento stars as an anxious foreigner in Venezuela. Her character, Caro, is on a harried mission to reclaim inherited property from the local caretakers who still reside there. That’s the setup in a surrealist psychological thriller, in which Venezuelan-Canadian film-maker Jorge Thielen Armand unpacks personal history alongside deep-rooted and “eternal” tensions that still affect the country today. “The film has multiple layers of meaning,” says Armand, ahead of the film’s premiere in the director’s fortnight section at Cannes. “Recent events only make those multitudes greater.” Continue reading... from Film | The Guardian https://ift.tt/VutlFjb via IFTTT
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Deadpool & Wolverine review – Ryan Reynolds and Hugh Jackman’s sarky gagathon mocks the MCU back to life

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The highly-anticipated odd-couple action bromance shatters the fourth wall into a million pieces with plenty of juke-box slams to keep blood-sugar content high

Can the ailing Marvel Cinematic Universe franchise be redeemed with a metric tonne of frantically self-aware comedy? Now that fewer and fewer people care, can this summer tent pole persuade them to have a laugh at what they used to care about? Can the superhero genre get back on top with a gag riot from Ryan Reynolds’s wisecracking crime fighter Deadpool in an odd-couple action bromance with Hugh Jackman’s wizened Wolverine as his straight man, the careworn spirit of seriousness?

Kind of. Deadpool was always the satiric turn – but this is a movie which more or less orders the audience to stop taking any of the proceedings seriously, shattering the fourth wall into a million pieces with material about nerds saving their “special sock” for particular fight scenes. It cheerfully (if sheepishly) makes mock of the MCU’s cosmic timeline shenanigans which permit characters to be brought back to life and even does loads of very tiresome corporate in-jokes about Disney taking over Fox, presumably on the basis that civilians care as much about this as the Hollywood combatants. Reynolds is often funny, sometimes very funny, periodically entirely unbearable, often a weird and interesting mix of the three.

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