Steve

Bellissima aka Beautiful

by
Mother Maddalena and daughter Maria

If it’s a performance you want – and I mean a performance – look no further than Luchino Visconti’s 1951 comedy Bellissima (Beautiful to English speakers), in which Anna Magnani turns on the acting flamethrower in the film’s opening moments and runs it at full intensity until fadeout. She plays the mother with aspirations that her little girl shouldn’t live the same impoverished, largely hopeless, male-dominated life that she’s had – Maddalena (Magnani) strains every sinew in her body to get her girl into the movies. A casting call goes out on the radio in the film’s opening moments and from here we follow Maddalena and seven-year-old Maria (Tina Apicella) as they prepare for … Read more

Close

by
Remi and Leo

Close by name and nature, this intense, tightly packed, intimate study of a friendship between two 13-year-old Belgian boys took the Grand Prix prize at Cannes, where they do like a bit of a wallow. Beautifully made and sensitively played, it starts out in one territory but ends in another. The focus is on Leo and Remi, two lads in their last summer before puberty, or possibly the first one since the hormones announced themselves – either way we’re right on a cusp of big changes. Their boyish closeness – families who know each other, sleepovers possibly since childhood, everything shared – is sketched out in opening scenes of bucolic intimacy by writer/director … Read more

Birth

by
Joseph and Anna in a happy moment

Birth doesn’t quite sit with Jonathan Glazer’s other films. As I write (February 2024), his latest, The Zone of Interest, is attracting awards like an MRI scanner attracts spoons. As did Glazer’s debut, Sexy Beast, in 2000, and the film that followed Birth, 2013’s Under the Skin. As for Birth, it was booed at its premiere at the Venice Film Festival and its current rating on Rotten Tomatoes puts it around 40% “fresh”. Rotten, in other words. People probably need to take another look. First thing: it’s brilliantly made. Second thing: it’s brilliantly acted, with a great cast all rising to the challenge. Third thing: the plot. This is where it does come … Read more

All of Us Strangers

by
Adam with his father and mother

All of Us Strangers, Andrew Haigh’s first movie since the atypical Lean On Pete, sees him back in familiar Haigh territory – with a twist. “Familiar” means an intense, almost claustrophobic, relationship-focused drama, but the twist comes from the way Haigh tells his story. It’s a spooky, old-fashioned ghost story. Not, note, a haunted house story (though there is a haunted house in it). Nor is this a horror movie, though psychological horror lurks somewhere in the background. It’s a ghost story of MR James variety, a style of storytelling that’s having a bit of a moment in UK movies right now – see Joanna Hogg’s The Eternal Daughter for something on fairly … Read more

The Whisperers

by
Close up of Edith Evans as Mrs Ross

As good a portrait of what it means to be old and lonely as any you’ll see, 1967’s The Whisperers is an atypical British movie for the Swinging mid-Sixties, almost a return to the kitchen-sinkers of the early part of the decade. Bryan Forbes, who wrote and directed and was a smart man, understands the risks of making this film at this time and so doubles down on the “grim up north” stereotype, starting his film with visuals strongly reminiscent of the TV show Coronation Street – back-to-back houses, empty streets, dogs in the alleys rather than people, chimney-tops and brick walls – before bringing his focus in on one elderly lady. He … Read more

Birth/Rebirth

by
Lila the undead

James Whale would probably approve of Birth/Rebirth, a new take on the Frankenstein story which, like Whale’s 1931 movie, is creepy, dark and yet shot through with a touching humanity. Until it isn’t. It’s a female take, with the focus largely on women, plus a female director, who also co-wrote, and the cinematographer, composer, editors, production designers and so on are mostly women too. Plus two stars in Marin Ireland and Judy Reyes who play either side of a familiar stereotype. On one side the monstrous feminine of Rose Casper (Ireland), an emotionless pathologist in a hospital morgue who is secretly collecting genetic material to further experiments into the reanimation of dead people. … Read more

Dellamorte Dellamore aka Cemetery Man

by
Francesco and the undead She

First, Dellamorte Dellamore is a much better title for a movie than Cemetery Man, which is how English-speaking countries saw it in 1994. Cemetery Man suggests something slasher-inspired. Dellamorte Dellamore, and its literal translation, Of Death, Of Love, something much more weirdly gothic. And that’s exactly what this mad piece of super-cultish garage grindcore is. It’s Italian, who are good at weird, and is based on the novel Dellamorte Dellamore by Tiziano Sciavi. Sciavi based his main character in an earlier work, the comicbook Dylan Dog, on the actor Rupert Everett (specifically the listless toff Rupert Everett played in Another Country). So when it came time to cast Dellamorte Dellamore, which owes something … Read more

Wonka

by
Noodle and Wonka out walking

Wonka the origin story, with Timothée Chalamet the chocolatier of every child’s fantasy, in a movie aimed straight at those with a sweet tooth and a love of whimsy. Lacking edge, stakes, call them what you will, it’s one for lovers of the soft centre. So, right, yes, story – Wonka arrives in somewhereland (England?) in ye olden times on a boat, with a pocketful of sovereigns and A Hatful of Dreams (first of the Neil Hannon songs), loses all his money to various urchins and mountebanks, and winds up in the clutches of a Mrs Scrubitt (Olivia Colman) and right-hand man Bleacher (Tom Davis), trapped by a contract he too readily signs, … Read more

The Spy in Black

by
Captain Hardt with gun in hand

Known in the USA as U-Boat 29, The Spy in Black is the better and the original title of the first film made by the powerhouse pairing of director Michael Powell and writer Emeric Pressburger. If that was all it had to offer it would be worth a look. But it is also a tight and thrilling spy caper bubbling with a typical Powell and Pressburger humanity. It was made when the Second World War looked obvious and opened in the UK in 1939 as war was breaking out. Its star is Berlin-born Nazi-hating Conrad Veidt, who plays Ernst Hardt, a German U-Boat captain who arrives under cover of the night on a … Read more

Under the Fig Trees

by
Fidé at work

Under the Fig Trees (Taht alshajra) isn’t a documentary but it’s made by Erige Sehiri almost as if it were. She’s been a documentary-maker up till now, and brings that different quality of storytelling to a quietly brilliant film full of drama. In the realm of fiction stories are told, but in documentaries they emerge – broad generalisation I know – but that’s the way Sehiri does it here. Opening shot: dawn, a young woman somewhere in Tunisia making her way towards a road. Next shot: climbing onto the back of a truck with a bunch of other people, all of whom know each other. Everyone’s in the back, except Fidé (Fide Fdhili), … Read more