The Ballad of Suzanne Césaire review – the legacy of a dissident and inspirational surrealist author

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Brief film looks at the intense flowering of essays by the Caribbean feminist and anti-imperialist who saw surrealism as a revolutionary mode This brief work from New York film-maker Madeleine Hunt-Ehrlich is the equivalent of a platform performance in the theatre: a look at the works of Caribbean feminist, anti-imperialist and surrealist partisan Suzanne Césaire, played by Zita Hanrot; Hanrot, rather, plays an actress musingly preparing to play her. Césaire’s brief, intense flowering of work occurred in second world war Martinique, then a colony of France, controlled by the collaborationist Vichy government. Paradoxically liberated by this oppressive situation, Césaire co-founded a journal called Tropiques and published an influential series of essays on politics, literature and art, which showed how passionately inspired she was by her encounter with the great surrealist André Breton. Continue reading... from Film | The Guardian https://ift.tt/rx4iLoM via IFTTT
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Janet Planet review – Annie Baker’s tender, perceptive mother-daughter drama

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Julianne Nicholson and newcomer Zoe Ziegler are a dream team in the Pulitzer prize-winning US playwright’s richly cinematic film debut

Janet (Julianne Nicholson) is the whole world for her only child, 11-year-old Lacy (Zoe Ziegler). Bespectacled, gauche and still partially unformed as a human, Lacy is fascinated by her casually magnetic mother, examining her hungrily and attempting to read her as if she’s a map to navigate the mysteries of the adult world. It’s an intense relationship, poised on the brink of change, with Lacy’s adolescence lurking just around the corner.

But it’s this sense of precious transience that makes Janet Planet, the feature debut of Pulitzer Prize-winning playwright Annie Baker, such an exquisite and treasurable account of a complicated mother-daughter bond. It’s a moment caught in the amber light of an endless summer in rural western Massachusetts. And if by the film’s close Lacy is starting to see her mother differently, she’s still not ready to loosen her clinging grasp on Janet, whose hand she holds when she can’t sleep, and whose hair she keeps as a protective talisman.

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