Diane Keaton’s nail clippers for $960: what’s behind the new boom in celebrity estate auctions?

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With beloved stars’ personal items increasingly up for grabs after they die, a new generation of fans are bidding on everything from bowler hats to dog bowls From Diane Keaton’s bowler hats and polka dot scarfs, to Gene Hackman’s used paint brushes, to Terence Stamp’s love letters from Jean Shrimpton and even Matthew Perry’s black leather wallet (his credit cards and AAA membership card still inside), fans are being offered – at a price – increasingly personal items from the estates of dead celebrities. The growing trend for auctions of deceased famous people’s personal items – which has boomed ever since the hugely popular Marilyn Monroe estate sale in 1999 – has even attracted its own portmanteau: “deleb” as in dead celebrity. Continue reading... from Film | The Guardian https://ift.tt/4Yh215g via IFTTT
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Exodus review – broadside against Erdoğan’s Turkey takes the multi-narrative, multi-character route

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Serkan Nihat’s story follows a group of Turkish fugitives, but it bites off rather more than it can chew

The cinematic response to populism and incipient fascism worldwide over the last decade hasn’t fully mobilised – but this broadside on the authoritarian leanings of Erdoğan’s Turkey doesn’t pull its punches. (Unsurprisingly, it’s produced by a UK-based team.) It’s a shame then that, lambasting the effects on education, policing, freedom of expression and the demonisation of minorities, director Serkan Nihat is wedded to a hectoring, didactic method that dulls the audience’s engagement, instead of firing us up.

Nihat opts for the fragmented, multi-character narrative beloved of big-picture global film-makers in the 00s (think 21 Grams or Babel). Academic Hakan (Denis Ostier) becomes a fugitive after his pro-democracy lecture is invaded by regime goons. Hakan is later assaulted by vengeful cop Yilmaz (Murat Zeynilli), his one-time school bully, and then hooks up with another policeman, Mehmet (Umit Ulgen), also on the lam after a crisis of conscience about the politicisation of his work. The pair hole up in a safehouse full of migrants being chivvied to Greece by people-smuggler Sahab (Doga Celik). Meanwhile, Hakan and Mehmet’s wives find themselves targeted by the security forces in a clampdown.

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