Osiris review – Linda Hamilton drops in to rescue charmingly hokey space-horror

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The fella-in-a-suit aliens resembling past pop culture beasties are a strength of an entertaining abduction adventure An entertaining-enough space-horror, a mishmash of storylines and character types that sees some special forces commandos abducted by a gang (herd? flock? troop?) of aliens whose intentions are aligned more closely with the likes of the predator than lovely little ET the Extra-Terrestrial. The pop culture off-worlders these beasties most resemble physically, however, are the xenomorphs from James Cameron’s Aliens – and not the massive multi-limbed queen, mind you, but the smaller foot-soldier guys who can be played by a fella in a suit. This fella-in-a-suit aspect is the one of the film’s strengths. You might argue that it hinders the willing suspension of disbelief, because you always know you’re looking at a fella in a suit. But in truth there’s something about the physicality of even the hokiest practical effect that is more enjoyable than all but the most skilfull...
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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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