The devil wears Primark: is the romcom reporter about to get the sack?

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Glamour? Money? Hope? They’re so last season. With fashion magazines on their knees, where does that leave The Devil Wears Prada 2 – and its famously relatable heroine? Runway magazine is collapsing. Miranda is eating in the cafeteria and flying economy. Andy is the new features editor. Emily is dating a billionaire. Somebody dies. Amelia Dimoldenberg makes a cameo. But the one unexpected detail in The Devil Wears Prada 2 that I can’t stop thinking about is this: Andy worries that she’ll never be in a position to unfreeze her eggs. “Left New York for 15 years, not married – never found the right person, and my kids are at a doctor’s office on 85th,” she breezily reports to Emily when they reunite after 20 years. “They’re eggs,” she clarifies, adding that she is excited to have children. And in that moment, I couldn’t help but wonder: was the woman who once had the job “a million girls would kill for” always this relatable? Continue reading... from Film | The Guardian https://ift.tt/...
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Sofonisba’s Chess Game review – pioneering female Renaissance artist gets her due

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Documentary analysis of benchmark 16th-century painting is absorbing but focus on a single work misses the chance to reveal an extraordinary life

Like its predecessors from the Ideas Roadshow series, this essay film looks like a high-grade PowerPoint presentation but shines because of its exceptional subject: the pioneering female Renaissance artist Sofonisba Anguissola and her psychologically luminous portraiture. The film is centred on this queen’s gambit: her c 1555 portrait of her three sisters and housemaid playing chess, which clocked up numerous firsts. Apart from being the first Renaissance all-female group painting and the first to juxtapose women of different classes, its most groundbreaking accomplishment was depicting real-life – rather than symbolic or idealised – women.

Narrated by Elizabeth van Sebelle, the film sticks to basic summaries to relay the context. Born around 1532 into a lapsed aristocratic family from Cremona, as the eldest child Anguissola got a fancy Carthaginian first name (her father was Amilcare) and artistic training a cut above the average woman of the time. Initially schooled by distinguished local painters, she impressed Michelangelo in her early 20s when he challenged her to draw a weeping boy. Her artistic apprenticeship was meant in part to bolster her marriage chances rather than to give her a career in her own right – a career she had, nevertheless, becoming court painter to Philip II of Spain, and subtly influencing her peers.

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