Indiana Jones and the Dial of Destiny is ugly, prosaic, and dull, pandering to an audience willing to be spoon-fed lines that they once recognised and moves as gracefully as its geriatric lead.
Ng Choon Ping and Sam Freeman spoke about their Safdie brother references in FEMME, the implications behind the giant lion tattoos embossed on George MacKay, and how vital it was to have an intimacy coordinator on set.
“Telling stories of the working class means you can incorporate them as full characters with complexities and humour and struggles and sadness and joy and all the rest of it that make them human and not stereotypes or cliches. One thing you never see is their strength.” At the North-East premiere of THE OLD OAK, writer Paul Laverty sat down to chat about the film, while director Loach spoke over a video call.
A competent, intriguing drama like this gaining award traction feels more symptomatic of it being the kind of good film that is now a rare occurrence within the film zeitgeist, rather than one that feels like it will be remembered after the award cycle.
With THE ROYAL HOTEL, Kitty Green has once again shown that she can strike a perfectly pitched tone, knowing exactly how she wants to escalate tension, whether it be from female powerlessness at the hands of predatory executives or the roaring, blistering diatribe spat from the drunk mouth of an average man.
Schubert spoke about turning 30 while touring the biggest film of his career so far in AFIRE, auteur director Petzold casting him specifically, and the curious introspection that Leon is bringing to a subset of audiences.
“I really believe in art. I study theatre, and I really believe in political art, social theatre, and art of the oppressed. I believe cinema about underprivileged people and communities, films like ours, can make a difference.”
The joy of watching motorsports is seeing the fiery passion that burns in the soul of everyone taking part, and racing fans know when they see that exact triumphant feeling. Sadly, FERRARI fails to capture that passion.
Connor Lightobody talks to Charlotte Regan about Scrapper at EIFF 2023.
“What I wanted to do [with PASSAGES] was make a film of pleasure. I was trying to turn people on. Which doesn’t mean gratuitous or exploitative; I was trying to make a film where the beauty of bodies in different lights and colours was embraced.”