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A dding melodrama to the seemingly endless list of genres he can turn his hand to, Todd Haynes creates a thorny, completely compelling feature from Samy Burch’s acerbic script in May December, as an actress tries to get under the skin of the woman she’s scheduled to play in an upcoming biopic. Elizabeth Berry (Natalie Portman) is best known for her work on Norah’s Arc – a television show in which she plays a veterinarian. Although she’s “so lucky to have the show”, she yearns for the legitimacy of a meaty film role and thinks it might exist in the indie film she’s starring in which tells the story of Joe and Gracie Atherton-Yoo. The couple live in the suburbs of Savannah Georgia with their eighteen-year-old twins Mary and Charlie, who are about to fly the nest for college – by all rights they seem like a sweet couple, but the story of their relationship is revealed to be a contentious one, when Gracie (Julianne Moore) is unfazed by strangers leaving packages of dog poo on their door...

A nyone who caught Justine Triet’s delicious 2019 film Sybil ahead of the 2023 Cannes Film Festival would’ve been less surprised when the writer-director’s formidable follow-up, Anatomy of a Fall, scooped the Palme d’Or. This is Hitchcockian hokum of the absolute grandest cru, a throwback murder mystery whose immaculately precise plotting coalesces into a existential conundrum which asks: if a person murders another person and there was no-one around to see them do it, did it actually happen? German actor Sandra Hüller adds to the case that she’s one of the finest to ever do it, playing slippery Sandra, a commercially successful author who is arrested on suspicion of murder when her commercially unsuccessful author husband Samuel (Samuel Thies) plummets from the balcony of their grandiose pine chalet. Triet and Hüller conspire to not give the audience an inch when it comes to the question of Sandra’s culpability, and this is done via the clever, naturalistic writing and a performa...

T he inexorable slow-fade of personal memory is a tragedy to behold for anyone suffering from a range of cognitive ailments. There’s something bittersweet about the fact that we spend our lives mentally indexing emotions, tastes, joyful instances, painful recollections, and, like a great movie, all of it just slowly drifts out at the end. What’s more, there’s little we can do to stem the flow of this constantly-receding tide. Augusto Góngora, who passed in March of 2023, was a massive and beloved media celebrity in Chile – a TV journalist whose personable manner and avuncular on-camera presence was used to execute the deadly serious personal mission of making sure that the atrocities of the Pinochet regime remained front-and-centre of the public consciousness. For a person who dedicated so much of his life to keeping the candle of civic memory burning, so we remember to ensure those same totalitarian horrors never occur again, it’s cruelly ironic that his own capacity for retaining...

W ithin the VHS-infused neon haze of Amanda Kramer’s Give Me Pity! resides an unhinged, ghostly presence hungry for spectacle. Its haunting is incessant as it intercepts the frequencies of a one-woman variety TV show fronted by an animated Sissy St Claire (Sophie von Haselberg, Bette Midler’s lookalike daughter), a small screen diva who’s “just dying to be known”. But even her show’s faceless psychic refuses to touch her. “The energy surrounding you is demonic”, she claims. In an almost entirely solo performance, Haselberg flexes her immense acting chops as the star of an experimental and esoteric extravaganza that’s contained within a soundstage, with a series of soul-baring monologues that get progressively more strange as they meander towards delirium. But is anyone watching? Embracing the camp energy of ‘70s and ‘80s television variety shows, Kramer cross-pollinates sketch character comedy and musical with Beckettian monologues (which Haselberg delivers with relish) injecting h...

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A lready this decade Kristoffer Borgli has established himself as a satirist of the branded self. His calling card short Former Cult Member Hears Music for the First Time took a quite savage swing at a Vice-like documentary crew packing edgy content into a bite-sized package, and last year’s Sick of Myself , in which a woman achieves microcelebrity by infecting herself with a disease, going literally viral, stopped short of full savagery but displayed a deep familiarity with the smugly on-trend styles and values of creative marketing. With Dream Scenario, he warps the funhouse mirror more aggressively, foraying into a Charlie Kaufman-esque high-concept setup about a man who becomes a meme. Nicolas Cage plays Paul Matthews, a professor of evolutionary biology who suddenly starts showing up in the dreams of people around the world. At his sparsely attended lectures, the tenured but unpublished Paul lectures about zebras’ camouflage — not sticking out from the herd is a good defensive ...

T here are few cinematic imaginations as delightfully surreal, as full of wonder, and as critically divisive as the one belonging to filmmaker Tarsem Singh Dhandwar. Often going only by the name Tarsem, those familiar with his work may easily betray when they came of age: he cut his teeth making commercials (Nike, among them) and music videos (including R.E.M.’s Losing my Religion ) in the 1990s alongside a crop of talent including David Fincher, Jonathan Glazer, and Spike Jonze. When I meet Tarsem at his London flat, he greets me warmly: before long we are situated on plush cushions on his floor, barefoot, drinking freshly squeezed orange juice and chatting movies. “I remember in school, we all used to sit on the floor and they’d put our dining table to the side and put a sheet up to project the movie. And if anybody was in front of you, you’d think, I’ll never understand the movie. You’d think: what if there’s a snake in the movie, I won’t see. You’d forget that the snake would be...