‘It was the moment I lost innocence’: how a childhood stop-and-search led to the British debut movie of the year

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When Imran Perretta was young, he was abruptly pulled by police into a van for questioning. That experience, as well as the death of his mother, inspired him to make Ish, a coming-of-age tale set amongst the British Muslim community. He talks about trauma, designing toilets and making Luton look magnificent Imran Perretta always knew that the title of his debut feature film would be “Ish” – short for Ishmail, the name of the 12-year-old boy from Luton at the heart of his story. Only later did people point out the similarity to other coming-of-age films with three letters in the title: Kes by Ken Loach, and Satyajit Ray’s Apu trilogy. Now, as the reviews trickle in, the comparisons to Kes and Apu keep coming. Like them, Ish is a poetic film that grabs you by the heart and pulls you into a child’s perspective on the world. The response has been lovely, says Perretta, and a relief. “It’s nice that people have compared Ish to those films rather than Kidulthood. I did worry about that.” Why...
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Kill the Jockey review – a mercurial, skittish crime drama whose hero is a drug-fuelled rogue

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Venice film festival
Luis Ortega’s film veers off the racetrack as jockey Remo drifts around the city streets, pursued by a pregnant girlfriend who wants him back and a gangster who wants him dead

People ride horses for all sorts of reasons, explains the jockey hero of Luis Ortega’s offbeat and stylish Argentinian crime drama. They ride to arrive at their destination more quickly, or to wage war more effectively. Mostly, he says, they ride to escape. This jockey is familiar with the nagging urge to take flight. He is a study in motion, a figure in flux. Show him a fence and he will promptly jump it – or die trying.

There is much to relish in Kill the Jockey, not least Nahuel Pérez Biscayart’s wonderfully stone-faced performance as Remo Manfredini, the rider who absolutely, positively has to win his next race in order to keep a gangster off his back. Biscayart plays Remo as though he is the soulful clown in a silent movie, Buster Keaton with a riding crop. He gives the impression of being the bemused lightning rod for events, as opposed to what he really is: an unruly, drug-fuelled rogue agent who is a danger to himself and pretty much everyone else around. “We know all about your unquenchable thirst for disaster,” says leathery Sirena (Daniel Giménez Cacho), the mob boss, in the brief moment of calm between the scene in which Remo performs a slapstick somersault at the starting gate and the moment when he gallops full-tilt at the race-track’s barricades.

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