Chickenhare and the Secret of the Groundhog review – time-travel fun for plucky hybrid critters

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A half-chicken half-hare, a skunk and a tortoise go in search of a 3,000-year-old groundhog in this wholesome animation with a surprisingly complex plot Although this animated feature doesn’t have a title as utterly awesome as its predecessor, Chickenhare and the Hamster of Darkness , it’s still a perfectly adequate 90-ish minutes of creamy pastel-coloured picaresque entertainment. It feels like it’s skewed in the direction of younger viewers given the simple character designs, general wholesomeness and easy-on-the-jokes tone, but the plot is surprisingly complicated. The lead character is named Chickenhare because of course he is half-chicken half-hare, although in practice he looks more like a hare than a chicken other than a tuft of feathers on the crown of his head. He is best friends with a skunk named Meg, equipped with the awesome power of stink and who is very butch-coded with her waistcoat, faux-hawk and tomboy characteristics; there is also a tortoise named Abe, who as you mi...
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‘How is this possible?’: a new film looks inside the appalling abuses of the Alabama prison system

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In the year’s most shocking documentary The Alabama Solution, prisoners share astonishing footage in a plea for help

When film-makers Andrew Jarecki and Charlotte Kaufman visited Alabama’s Easterling prison in 2019, they found a deceptively pleasant scene. Like Alabama’s 13 other prisons, Easterling largely prohibits media access, but allowed the documentarians to film its annual volunteer-run barbecue, a sunny day in which incarcerated men, most of them Black, ate fresh roasts to live music and sermons. On camera, men danced and smiled. But off camera, many more told a different story – horrific beatings, unreported stabbings, unimaginable violence swept under the rug and appalling conditions that “ain’t fit for human society”. Cries for help emerged from inside the sweltering, filthy dorms. When Jarecki approached the voices, a prison official shut down filming, claiming that it was unsafe for him to speak to the men without a police chaperone.

“It was very clear that there were areas of the prison that we were not allowed to see,” Jarecki, whose credits include Capturing the Friedmans and The Jinx: The Life and Deaths of Robert Durst, recalled recently. “They use the idea that it’s all about safety and security, because they don’t want you to understand what they’re doing. These prisons are like black sites.” In the short visit, the crew received the same message over and over: “We don’t have access to the outside world. Please share this.”

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