‘These cooks ripped each other apart’: Dominic Sessa on playing Anthony Bourdain, kitchen bullies and the joys of being a 70s barfly

After his breakthrough in The Holdovers in 2023, Sessa has gone back to the 70s again for Tony, the biopic of bad-boy chef and Kitchen Confidential author Bourdain. And, he says, a big part of him would like to stay there Despite being just 23, Dominic Sessa is perhaps as intimately acquainted with the 1970s as those who grew up then. Although the New Jersey-born actor has only starred in five films, two of them are marinated in the fashions, sounds and mores of the decade. In his new movie, Tony , he plays the 19-year-old Anthony Bourdain, future bad-boy celebrity chef, bestselling author of Kitchen Confidential and host of its hit TV spin-off. Tony restricts itself to one summer in 1975, when Bourdain bummed around the coastal resort of Provincetown, Massachusetts, falling in love, scrubbing pans in a seafood joint and catching the cooking bug. “For a rootless young man with sensualist inclinations,” he wrote, “it was the perfect getaway.” A 70s retro vibe also hung over Sessa’s debu...

Resurrection review – fascinating phantasmagoria is wild riddle about new China and an old universe

In Bi Gan’s ambitious alternate reality, where humans can live indefinitely, a reincarnating dissident dreamer travels through history in different guises

Bi Gan’s new movie in Cannes is bold and ambitious, visually amazing, trippy and woozy in its embrace of hallucination and the heightened meaning of the unreal and the dreamlike. His last film Long Day’s Journey Into Night from 2018 was an extraordinary and almost extraterrestrial experience in the cinema which challenged the audience to examine what they thought about time and memory; this doesn’t have quite that power, being effectively a portmanteau movie, some of whose sections are better than others – though it climaxes with some gasp-inducing images and tracking shots and all the constituent parts contribute to the film’s aggregate effect.

Resurrection is, perhaps, a long night’s journey to the enlightenment of daybreak; it finishes at a club called the Sunrise. It is also an episodic journey through Chinese history, finishing at that historic moment which continues to fascinate Chinese film-makers whose movies are a way of collectively processing their feelings about it: New Year’s Eve 1999, the new century in which China was to bullishly embrace the new capitalism while cleaving to the political conformism of the old ways.

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