‘I was born without self-esteem’: Hannah Einbinder on Hacks, her buzzy queer horror – and being Hollywood’s most outspoken star

The Hacks lead was cast in meta-slasher sensation Teenage Sex and Death at Camp Miasma for her ‘deranged physicality’ – but it’s a fitting role for an actor who has made a point of confronting shame and speaking her mind ‘God is good all the time,” laughs Hannah Einbinder. She’s fresh off a plane from Los Angeles and curled up barefoot in an armchair. This, she says, is “a crazy time in life. Starring in Teenage Sex and Death at Camp Miasma in the midst of Hacks ending … it’s definitely an embarrassment of riches.” Hacks is the HBO comedy that ended earlier this year; in May, Teenage Sex and Death at Camp Miasma, Jane Schoenbrun’s queer meta-horror, became the breakout hit of this year’s Cannes film festival. Continue reading... from Film | The Guardian https://ift.tt/EBR5uPv via IFTTT

Blink review – family’s poignant bucket list trip turns into glossy travelogue

A couple who discover that three of their four children have a degenerative eye disease go on a round-the-world family holiday in this beautifully shot but saccharine documentary

An active, boisterous French-Canadian family of six, led by mum Edith Lemay and dad Sébastien Pelletier, discover that three out of their four kids have the gene for the disease retinitis pigmentosa. That means eldest sister Mia, and younger boys Colin and Laurent will gradually go blind, first by losing their ability to see in the dark. Only middle child Léo got lucky and didn’t inherit it. When the parents asked a doctor what they would do if their child got such a diagnosis, the doctor said they would help their children make as many visual memories as they could while they still had time, so the Lemay-Pelletiers decided to take a year out and go travelling around the world, funded by shares Sébastian had just recently gained. As well as presumably some kind of financial or at least logistical support from the film-makers who are quietly documenting all this from the start, backed by the National Geographic channel.

That station’s involvement partly explains the wholesome, squarely sentimental tone of the film, which constantly emphasises what a lovely nice family these people are even as they face a literal dark future together. Even the font used for onscreen graphics, mimicking a clumsy handheld script, is aggressively corny-cutesy. The slow drip of sanctification, forced down with an especially saccharine score, may be enough to make some viewers go off the film and even the subjects themselves as they enjoy the dream holiday of a lifetime, flying from country to country, and ticking items off their bucket list like “see a sunset in the desert” and “drink juice while riding a camel”.

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