The Moment review – Charli xcx struggles through defanged Brat summer satire

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Sundance film festival: There’s a smart idea at play here, with the star playing a hellish version of herself fighting against corporate forces, but there’s not a lot else In April 2025, the pop singer Charli xcx posted a TikTok reflecting on nearly a year of her seminal album Brat : “It’s really hard to let go of Brat and let go of this thing that is so inherently me and become my entire life, you know?” she said. “I started thinking about culture, and the ebbs and flows and lifespan of things … ” She acknowledged that over-saturation is perilous, and that maybe she should stop, but “I’m also interested in the tension of staying too long. I find that quite fascinating.” The frank, informal admission fit with Brat, a pop culture-shifting album that channeled, with stunning immediacy, the imperious ego and bristling insecurity of an artist keenly aware of her own precarious level of fame . Her ambivalence was understandable – Brat rapidly turned Charli, who spent over a decade as a...
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Maria review – Angelina Jolie plays the diva in magnificent stroll around the cult of Callas

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Venice film festival
Jolie is a painting to be stared at in Pablo Larraín’s opulent drama, tottering around Paris in the 70s and drawing us in to tragedy as thoroughly as Bellini or Pucchini

Hide the overflowing ashtrays and move that infernal grand piano – Maria Callas, La Diva, is granting a valedictory TV interview. She’s pacing the halls of her Paris apartment, feeding her poodles and strung out on pills. The visiting journalist is called Mandrax, named after her favourite medication. He takes a seat and checks the mic. By way of introduction, he says, “I’d like to walk with you through your life.”

Callas’s life whisked her from the slums of Nazi-occupied Athens to the concert halls of Europe and the US, through a torrid relationship with Aristotle Onassis to collaborations with Pasolini and Zeffirelli. But Pablo Larraín’s opulent Maria shrewdly homes in on the soprano’s final days, showcasing a stiffly dignified Angelina Jolie as the lioness in winter, four years retired and a legend in her own lunchtime. “Make me an appointment with a hairdresser who doesn’t speak,” she orders her doting servants. “Book me a table at a restaurant where the waiters know who I am.” She is in the mood, she adds, for adulation.

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