Georgie Carr on Ruben Östlund’s ‘Triangle of Sadness’
Ruben Östlund describes himself as a socialist, and on the surface his films exhibit a flair for zeitgeisty political engagement,…
Georgie Carr on Pablo Larraín’s ‘Spencer’
When Diana was killed in a car crash in August 1997, my dad drove our family to the beach in Eastbourne….
An Unwavering Self-Regard: Sofia Coppola’s ‘On The Rocks’ (2020)
“That’s the way I work: I try to imagine what I would like to see,” said Sofia Coppola in an…
Cinema, Carcerality and Covid-19: On Watching Brett Story’s ‘The Prison In Twelve Landscapes’ (2016)
How do you represent the prison system cinematically? A certain syntax of images springs to mind: a concrete wall, coils…
‘Little Women’, Little Change
If the radical potential of adaptation lies in its ability to harness the energy of an established text for new…
Fate and the State: Sophie Deraspe’s ‘Antigone’ —TIFF
Sophie Deraspe’s film adaptation of Sophocles’ Antigone updates the central themes of the original – family, exile, state power and…
Notes on the City: Andrea Luka Zimmerman and Adrian Jackson’s ‘Here For Life’ —Locarno
In an interview in 1968 Pasolini described going especially from Casarsa to Udine to see Vittorio De Sica’s The Bicycle…
A House That Is Not A Home: Yoon Sung-A’s ‘Overseas’ —Locarno
How can cinema show social reproduction? Yoon Sung-A’s documentary Overseas (2019), focuses on a training centre for overseas domestic workers…
In The Name of The Mother: Maura Delpero’s ‘Maternal’ —Locarno
What is motherhood? Maura Delpero’s Maternal (Hogar, 2019) shows a world in which two paradigms of maternity – the single…
On Looking but not Seeing: Florian Henckel von Donnersmarck’s ‘Never Look Away’
The title of Florian Henckel von Donnersmarck’s Never Look Away (2018) is an imperative: don’t look away from art, evil,…