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This idealistic feature draws parallels between the struggles of immigrant Polish workers in Norway and the homophobia faced by two young lovers, but can’t quite sew up the two seams Director Leiv Igor Devold makes an unexpected link-up between Norway, the country where he grew up, and Poland, where he attended film school, in this idealistic but sometimes heavy-handed second feature. He also finds invigorating cross-currents in contrasting the collectivist struggles of immigrant Polish fish-processing workers with another oppressed minority: the stuttering romance, in the face of homophobia, between young wage slave Robert (Hubert Miłkowski) and his supervisor Ivar (Karl Bekele Steinland). Robert finds himself gutting salmon in a factory on a Norwegian island in order to send money back home. But it is Ivar – the black adopted son of the factory owner Bjorn (Øyvind Brandtzæg) – who gets under his skin. A wannabe actor slumming it courtesy of dad, he’s an unbridled karaoke diva and e

Oleksiy Radynski chronicles the visionary architect Florian Yuriev’s drive to rescue Kyiv’s Institute of Information from destruction after he was given weeks to live The extraordinary mind of Florian Yuriev, a visionary Ukrainian architect and artist, visualises an astonishingly holistic view of the world. His abstract paintings brim with geometric colourful shapes and patterns that also carry a sonic component, as each shade has their own tonality. On his piano, whose keys are marked with their designated colours, Yuriev played out his painterly compositions, breaking down the barrier between sound and vision. Shot towards the end of Yuriev’s life, Oleksiy Radynski’s passionate documentary follows the architect’s tireless efforts to save one of his modernist masterpieces from destruction. Once deemed impossible to build, his design for a cultural centre that later became Kyiv’s Institute of Information reflects the utopian optimism of the space age. Nicknamed the “Flying Saucer” b

As Luca Guadagnino’s acclaimed tennis film Challengers makes its case for sporting immortality, critic Guy Lodge chooses 20 of the genre’s undisputed heavyweights Challengers reviewed by Wendy Ide Analogies of life as sport have been exhausted by every PE teacher in existence. In the movies, however, they’re eternally renewable. Take Challengers , Luca Guadagnino’s sleek, sexy, sweat-drenched new film, which hits every metaphor you might expect in its story of three tennis pros locked in a tense love triangle: games are won and lost, points scored, doubles partners swapped, and so on. Shot and paced with the ricocheting energy of a great tennis match, it’s a sports movie that, like many a classic of the genre, understands the parallels between sport and cinema as two great crowd-pleasing pastimes. The sports movie is pretty much as old as movies themselves: for early silent-cinema pioneers at the turn of the 20th century, the movement and momentum of a baseball game or a boxing ma

Documentary Bad Faith looks at the history of a group trying to affect and corrupt politics under the guise of religion Bad Faith, a new documentary on the rise of Christian nationalism in the United States, opens with an obvious, ominous scene – the storming of the Capitol on 6 January 2021 – though trained on details drowned out by the deluge of horror and easily recognizable images of chaos. That Paula White, Donald Trump’s faith adviser, led the Save America rally in a prayer to overturn the results for “a free and fair election”. That mixed among Trump flags, American flags and militia symbols were numerous banners with Christian crosses; on the steps of the Capitol, a “JESUS SAVES” sign blares mere feet from “Lock Them UP!” The movement to overturn the 2020 election for Donald Trump was, as the documentary underscores, inextricable from a certain strain of belief in America as a fundamentally Christian nation, separation of church and state be damned. In fact, as Bad Faith argu

Sombre documentary focuses on the former Palestinian leader Marwan Barghouti, and how he is becoming a Mandela-like figure since his imprisonment in 2002 Here is a film that offers something not generally on offer in the media: an envisioning of the future and a road map, or part of a road map, out of the present situation in Israel and Palestine. It’s about Palestinian leader Marwan Barghouti , an initial supporter of the 1993 and 1995 Oslo peace accords who became progressively disillusioned with the slow choreography of international consensus, and was ultimately imprisoned in 2002 for authorising deadly attacks on Israel. Barghouti’s position is not that he is innocent, but that an Israeli court has no right to try him. During the long years since, he has gone on hunger strike, been beaten and abused in captivity; his grownup children have themselves been targeted and arrested and his wife Fadwa has been repeatedly refused permission to visit him. But the film shows that somethin

Director of Palme d’Or-winning film Entre les Murs (The Class) was much praised for humanism in projects Laurent Cantet , the award-winning film-maker whose creations tackled some of the most complex issues of modern French society, including meritocracy, the education system, diversity and class struggle, has died aged 63 after an illness. Cantet was best known outside France for his film Entre les Murs (The Class), which won the Palme d’Or at the Cannes film festival in 2008. It depicted life inside the classroom of a secondary school in Paris’s diverse 20th arrondissement and the relationship between students – compellingly improvised by non-professional teenagers – and their at times exasperated teacher. Continue reading... from Film | The Guardian https://ift.tt/uthRcjG via IFTTT

Musician and film-maker’s story about a Belgian-Congolese man who takes his white wife to DRC to meet the family is complex, risky and bold Congolese-born rapper, musician and film-maker Baloji (né Serge Baloji Tshiani) was a prizewinner at Cannes last year with this feature directing debut: a dynamic, teemingly populated, multistranded and tonally elusive picture which I initially thought would benefit from comparisons with Jordan Peele’s horror classic Get Out. In fact, it’s more complicated than that. Koffi (Marc Zinga) is a Congolese man living in Belgium and married to a white woman, Alice (Lucie Debay). They are about to have twins and Koffi feels that he cannot put it off any further: whatever his family will think, the couple must journey back to the Democratic Republic of the Congo to let them see Alice and let them get used to the idea. It particularly means propitiating his fiercely conservative mother Mujila (Yves-Marina Gnahoua). He takes care to shave off his westernis

A sexually candid, seriously intentioned drama about a young Kurdish woman who feels she has to surgically ‘restore’ her virginity before her wedding There is a heartfelt and courageous performance from 28-year-old Syrian-born, German-based actor Bayan Layla in this drama about sex, patriarchy and second-generation immigrant identity. It is a drama which hits the buttons squarely and efficiently, but might perhaps have played better as a three-part TV drama. Layla plays Elaha, a young woman of Kurdish family background in a German town (director Milena Aboyan is herself German-based and Armenian-Kurdish). She has finished high school and is now attending classes on how to apply for jobs, picking up skills she uses mainly to help her dad find employment. There seems to be no discussion about university, despite her obvious intelligence. Her mum works hard minding Elaha’s younger sister and disabled kid brother, and Elaha has part-time work at a dry-cleaners; she is saving for her wedd

As a mute avenger against a dystopian tyranny – looking like a lethal Buster Keaton – the actor makes you wish the film itself was as purposeful Bill Skarsgård – one of eight Skarsgård siblings, six of whom work as actors – has hitherto carved out a bit of a niche as the best one to hire when you need a Skarsgård with a bit of a creepy vibe. He’s played a possibly dangerous stranger (Barbarian), a vampire (Hemlock Grove), delivered an unforgettably nasty Pennywise the Dancing Clown in the recent IT, and is about to star as the titular character in The Crow reboot. In Boy Kills World, however, he proves there’s another string to his bow: bona fide action star. Rippling with muscles, Skarsgård plays Boy, one of those “I am an instrument shaped for a single purpose” types that thrive in the action genre. The single purpose is a time-honoured one: revenge. In this case it is against Famke Janssen’s Hilda van der Koy, the head of a wealthy ruling family in a totalitarian state which subje

Author Félix Bruzzone fronts this haunting film about Campo de Mayo, where his mother was among tens of thousands of people who ‘disappeared’ under the dictatorship The dark past of Campo de Mayo, a military camp that once served as a vast detention centre during Argentina’s so-called dirty war , is excavated in Jonathan Perel’s haunting documentary. Following noted author Félix Bruzzone as he jogs alongside the infamous site, the film is structured around the writer’s run in which the past and the present entwine. His encounters with witnesses of the dictatorship’s atrocities show that history is far from dormant, but a living, breathing thing. Having lived in the area, Bruzzone was only recently made aware of his family ties to the site. Abducted by the secret police and taken to Campo de Mayo, his mother was among the tens of thousands who “disappeared” under the military regime. This painful memory is mirrored by Bruzzone’s conversation with an archaeologist, who talks about the

Featuring stars including Riz Ahmed and Nabhaan Rizwan, the event aims to celebrate the ‘rich tapestry of Muslim experiences via the medium of film’ A major new UK film festival dedicated to Muslim cinema announced its inaugural lineup on Tuesday, with a slew of award-winning films featuring the likes of Riz Ahmed and Informer’s Nabhaan Rizwan . Ahmed, winner of an Oscar for best live action short film, will appear in Dammi, a short film directed by Yann Demange, the French film-maker best known for Top Boy and Northern Ireland-set drama ’71. Ahmed co-stars with Isabelle Adjani in a story about a man confronting his French and Algerian heritage on a trip to Paris. Rizwan plays the lead in In Camera, a British feature directed by Naqqash Khalid that screened at the London film festival, as an actor struggling to make a career in the film industry in the face of repeated rejections. Continue reading... from Film | The Guardian https://ift.tt/tnsbBWV via IFTTT

Great locations, experienced crews and juicy incentives have made UK studios increasingly attractive, and brought Hollywood stars to the unlikeliest locations. But with budgets falling and a lack of skills training, could the bubble be about to burst? When Peter Vardy joined Calderdale council 46 years ago, his job mostly involved maintaining local parks and, later, organising the occasional firework display. But these days Vardy’s CV can truthfully boast that he has shut down roads to stage car crashes and found the perfect bridge for a fictional detective’s (fictional) suicide. The West Yorkshire borough where the 64-year-old works has become a filming hotspot, home to big-budget productions such as the Disney+ superhero series Secret Invasion and the Paramount Plus period drama A Gentleman in Moscow . Residents have spotted Hollywood stars relaxing in local restaurants – Samuel L Jackson is apparently partial to fried seafood, lemonade and tiramisu. Since 2013, Vardy has acted a

Battling drought, Jenny and Russell Jenner tore out their failing crops. Could fields of sunflowers for selfies save their Queensland farm? There is the smell of freshly cut hay as you travel the country road towards the yellow that dusts the landscape in the distance. Row upon row of sunflowers run away down the hills. Little bursts of sunshine sway on the top of tall stems. With their bright optimistic faces – their sheer yellowness – they reach towards the sun, bringing the positive . But in 2021 there was no yellow in this landscape. Everything was brown, dead, desiccated in the heat haze. After seven years of drought the Moogerah Dam in south-east Queensland’s scenic rim was nearly empty. “There was no water left,” says Jenny Jenner, “and they were cutting off our allocation. And you can’t grow anything without water.” The quaint country towns in the area were depressed; no one was buying seed, fertiliser, fuel or food. “It wears people down,” the farmer adds. “You forget what y

Kevin Macdonald’s finely balanced portrait of the disgraced Dior designer, on Mubi from Friday, is the newest arrival on a catwalk of fashion industry movies, from Funny Face to Zoolander For those who bleat on about the iniquities of supposed “cancel culture”, the career of British fashion designer John Galliano is a useful counterpoint. Sacked in 2011 as the creative director of Christian Dior after an appalling incident of antisemitic abuse on his part, he spent two years in the wilderness before being hired by Oscar de la Renta and subsequently Maison Margiela , where he has been for a decade. A-listers still wear his gowns on red carpets. Life goes on. Kevin Macdonald’s documentary High & Low: John Galliano (streaming on Mubi from 26 April) chronicles Galliano’s rise and fall and rise with a more distanced, critical eye than you may expect from a film co-produced by Vogue publisher Condé Nast. There’s due appreciation of his distinctive design sensibility, but sharp scrut

Vidya Balan shines in this witty remake that sees a married couple, both cheating on each other, on the verge of breaking up The algebra of love is a multiple-choice conundrum in Shirsha Guha Thakurta’s debut, a witty remake of Azazel Jacobs’ romance The Lovers starring Debra Winger. Transporting the original story of a disaffected American couple caught up in extramarital affairs to Mumbai, Do Aur Do Pyaar often heads to the city’s beaches, whose shifting tides bring to mind the unpredictable ebb and flow of long-term relationships. In the film, the weight of marital distance is etched on to every frame. Twelve years into their marriage, Kavya (Vidya Balan) and Ani (Pratik Gandhi) have run out of affectionate words. Revolving around allergy medicines and bin bags, their daily conversations have gone terribly stale. At the same time Kavya finds comfort in the arms of handsome photographer Vikram, played by Heroes alum Sendhil Ramamurthy, while Ani is knee deep in a committed relatio

There’s some low-stakes pleasure to be had in the first half of the gory new film from the team behind Ready or Not and Scream but things fall apart disastrously Last year’s handsome gothic horror The Last Voyage of the Demeter and bombastic Nic Cage comedy Renfield allowed Universal the opportunity to present known IP as something fresh, at least on the surface, stories involving Dracula but told in ways we hadn’t seen before. They represented a nifty marketing strategy for a back catalogue of classic monster movies but both worked better as loglines than finished films – Dracula on a boat, Dracula as a bad boss – and audiences proved as uninterested as critics, the stench of old property distracting from the promise of something new. As the studio preps a new take on The Wolf Man with next year’s Christopher Abbott-led Wolfman and Robert Eggers’ remake of the Dracula-inspired Nosferatu, here comes Abigail, a poppy reimagining of the little-remembered 1936 horror Dracula’s Daughte

Two endurance sailors’ perilous voyage is supposed to lead them to empathy for refugees’ plight – but they sure take their time discovering that Here is a well-intentioned but brief, unsatisfying and oddly structured documentary, supposedly about refugees and boat people … although the refugees’ experiences are only discussed in the final 10 minutes or so. The film is actually about two Egyptians, Omar Nour and Omar Samra, energetic and prosperous young entrepreneurs who in 2017, in a spirit of adventure, took on the Talisker Whisky Atlantic Challenge, a well-established annual endurance event with a good safety record in which participants journey in a rowing boat across the Atlantic from La Gomera in the Canaries to Antigua; it is a 3,000-nautical-mile, 40-day ordeal in treacherous seas. After just nine days, these two guys got into terrible difficulties, perhaps as a result of their relative inexperience. Their craft capsized and they had to be dragged out of the water by a Greek

Anodyne children’s picture provides some gentle entertainment once you forgive the cloying anthropomorphism ‘Is that a butterfly fairy?” asks a confused seven-year-old who watches with me, pointing to the screen at the start of this Canadian animated tale. Nope. The purple creature with a humanish face and body, dressed in a hoodie, wings poking out of its back, is in fact the film’s rendering of a monarch butterfly. The film-makers behind this have really outdone themselves with their tackily revolting anthropomorphic butterflies. Still, if you can get past mutilating a wonder of nature, the movie is a harmless and rather sweet cartoon for under-eights. Teenager Patrick is a monarch who cannot fly because of an undeveloped wing. His dad was a big hero in the community after pecking out the eye of a fearsome eagle (he paid the price too). But because of his wing, Patrick has been banned from taking part in the annual winter migration south to Mexico. Not this year, says his overprote

Travelling across Russia in mostly silence, Ilya Povolotsky’s debut feature has a strange confidence in its own insistent dispiritedness With long journeys in a red camper van, long unbroken shots of shattered Caucasian landscapes, and very long silences between its alienated father and daughter, Ilya Povolotsky’s debut feature has a strange confidence in its own monumental dispiritedness. “I want to know that you have a plan,” says the teenager. “And that we won’t get stuck somewhere outside Khabarovsk with a chicken and a sad librarian woman.” This being a Russian art film, you wouldn’t bet against it. The two unnamed characters, played by Maria Lukyanova and Gela Chitava, are making their way across the country for unspecified reasons, other than her desire to see the sea. They run a small mobile cinema out of their van for wan residents of purgatorial steppe towns and flog snacks and porn by night at sketchy truck stops for the hauliers who aren’t with sex workers. The father has

This year’s edition of the festival, Best of Best, will show a collection of 28 award-winning short films across five strands offering dystopian visions and ideological bite With the EU recently passing the world’s first artificial intelligence law, this year’s trawl of European shorts from cultural organisation Eunic London doesn’t miss a trick by dwelling on matters algorithmic in much of its first section, Smile You’re on Camera – most prominently the ongoing wrangle between tech and labour in the workplace. It’s the one overtly topical strand alongside four others (Hard Decisions; People on the Precipice; Psychodrama; and the kids’ animation section Why’s the Sky Blue?) that stick to the more abstract themes into which Eunic typically packages up Europe’s film-making grassroots. The longest work here, the 23-minute I’m Not a Robot, by the Netherlands’ Victoria Warmerdam, doesn’t quite live up to a canny premise: the music-company worker whose inability to pass a Captcha test mean