Film

‘Many people are mourning,’ said Sam West on a BBC panel show discussing the response of the arts world to Brexit. According to West’s figures, ‘96 per cent of those polled were for Remain. Collaboration and connection are our bread and butter.’ The atmosphere of bitterness and anger was palpable at the Edinburgh Festival. I spent four days immersed in comedy shows and I heard only one pro-Brexit gag. The excellent Geoff Norcott said he was puzzled to meet Remainers who told him the result had been swung by ‘thick’ Leave voters. ‘Thick?’ he said. ‘The Remain campaign waited until after 23 June to stage their street protest.’ Lloyd Evans

Todd Solondz’s Wiener-Dog is billed as a ‘dark comedy’ although it is far more dark than comic. If pressed to put a number on it, I’d say that, despite the film’s poster, which shows a cute dachshund’s butt, and leads you into thinking cute dachshund thoughts, this is 98 per cent dark, and the sort of film that actually makes you want to come home, draw the curtains, and stick your head in the oven. Life’s a bitch and then you die, it says, literally. There’s every chance you’ll hate it. I’m not convinced I don’t. But this is a film that, once seen, you’ll always know you’ve seen and,

Consider it commercially. So powerful is the pull of the Potter franchise that the characters could simply re-enact the plot of ‘Incy-Wincy Spider’ and the fans would swoon with joy. The stage show has been written by a two-man committee, Jack Thorne and John Tiffany, with the help of billionaire equality campaigner J.K. Rowling. Harry is now 37 and working as a Whitehall clodhopper at the Ministry of Magic. He’s troubled by his stompy bed-wetter of a son, Albus, whose tantrums cause the middle-aged miracle-worker to suffer agonies of weepy self-doubt. Together they visit Hogwarts and the multifarious plotlines start to punch each other in the face. Three kids —

JT LeRoy was a teenage hustler who emerged from a childhood of abuse, drug addiction and homelessness to write about his harrowing experiences and become a literary sensation as taken up by Madonna, Bono, Winona Ryder, Carrie Fisher, Courtney Love, Lou Reed and Gus Van Sant, among many others. His back story was shocking — raped at five; pimped out by his prostitute mother at truck stops; HIV-positive; heroin-addicted …sit on that, Angela’s Ashes! — but the biggest shock, when it arrived? He did not exist. JT, it turned out, had been confected by Laura Albert, a 35-year-old woman from Brooklyn. This is Laura’s version of events, and whether you’ve

Nobody who witnessed it can have forgotten Mark Rylance summoning giants to his aid in Jerusalem. As Johnny ‘Rooster’ Byron, drug-dealing roustabout threatened with expulsion from his little patch of Eden, Rylance roared and drummed until the theatre shuddered with the sound of gigantic stomps approaching. That colossal performance brought him to international — as in American — attention. The biggest giant to answer his call was Steven Spielberg. The world’s most successful living fabulist now won’t get out of bed for any other leading man. We’ve already had Bridge of Spies, for which Rylance won an Oscar. There are two further Spielberg/Rylance collaborations on the runway. But for now,

From the moment this all-female reboot of Ghostbusters was announced, the fan-boy panic set in: where will it end? An all-female Top Gun? Will it make me pregnant? Who are these ‘women’? Where do they come from? Are they a recent thing? Do we know any? If it’s proved they can carry big Hollywood comedies, how will they ever be stopped? Such vitriol had to be coming from a sexist place as films are rebooted all the time and superheroes are endlessly — Batman can’t bend down to pull up his socks without being rebooted — yet they don’t provoke hate. Plus, it’s not as if remaking a film erases

From the Oscar winning classics of the early Seventies — The French Connection (1971) and The Exorcist (1973) — to the southern trailer trash noir Killer Joe (2011), William Friedkin has been behind some of the darkest films ever to come out of Hollywood. He has also had a famously bumpy career, careening from great successes to big flops (does anyone remember Jade?). Somehow, he’s always rebounded. Currently, the 80 year old director is developing Killer Joe into a television series, set to star Nicholas Cage as the cowboy hat wearing detective/hitman played so mesmerisingly in the film by Matthew McConaughey. At the Cannes Film Festival in May, Friedkin was

Perhaps you have sometimes wondered: how would you even begin to make a film about going blind and being blind and what that means? How, when the subject is so profoundly and inherently uncinematic? Or maybe it’s other thoughts that keep you awake at night — such as when we all finally receive our £350 million a week plus free puppy, where will we be expected to keep them? — but even if that’s so you’ll still find Notes on Blindness to be a singular achievement, as well as a truly wonderful one. This is based on the audio recordings of John Hull, the academic, writer and theologian who was

The Secret Life of Pets is the latest animation from Illumination Entertainment, which also brought us Minions and Despicable Me, but whereas they were smart, funny, charming and original, this is not that smart, not that funny, not that charming and not that original. It’s an average caper that feels familiar and suffers mightily from an excess of chase scenes although, in the interests of full disclosure, I should add I attended the screening with a six-year-old who said afterwards: ‘I loved it.’ Six-year-olds. We are fond of them and all that, but they just don’t ever get the bigger picture, do they? This is set in Manhattan and concerns

Every now and then, with great infrequency (alas), a film comes along that is like no other and completely knocks you for six, and that is Embrace of the Serpent. The first Colombian film to be nominated for an Oscar — it lost to Son of Saul, should you set any store by such things — it was filmed in the Colombian section of the Amazon basin, with a script developed in consultation with native tribes, and tells the story of a shaman’s encounters with two white scientist explorers, which unfold in different time periods. So far, so National Geographic; a world disappeared by colonialism and all that (sorry; our

Isabelle Huppert does nothing by halves. And she doesn’t, I think, care greatly for journalists. She expects them to ask stupid questions. Sitting before me in an airless room in the eaves of Paris’s Odéon-Théâtre de l’Europe, she is tiny, dressed entirely in black and more or less unsmiling. Lily-skinned, red-haired, and with a fabulous curl in her upper lip, she’s appeared in more than 100 film and TV productions. Ninety minutes after our meeting, she will be on stage. I sense she wants this interview over fast. But at the start she makes me, I must report, comatose with wonder. I have adored Mme Huppert on screen for three