If you look at it solely from the perspective of the mention of the ‘revenge thriller’ in its synopsis, you’d think that this four-hour long, black-and-white Filipino film had very little going for it. In reality, it’s a shining example of how the idea of retribution on screen flourishes in the hands of female protagonists.
To say that Pablo Larraín has a talent for biographical filmmaking would be an understatement. What he does with the genre is much more interesting than a strict documentation of a person or a period in their life. In Neruda, Larraín’s film about the Chilean poet and politician Pablo Neruda, he takes the skeleton of a biography and twists it into a detective story turned mythological tale; so spellbinding that it seems implausible that it could resemble anything close to the truth.
If I’ve taken one lesson from Paul Verhoeven’s rape-revenge drama Elle, it would be to never fuck with an angry French woman. I’ve also learned that hunting down your stalker is always done best when wearing killer outfits.
Watching this, the film that has caused shockwaves amongst cinephiles and won its lead actress, Isabelle Huppert, a Golden Globe, I often swung from one extreme of the emotional scale to the other. At one point, I find myself admiring the interiors of a palatial, Parisian home in one scene before being left literally open mouthed in shock at the next.
Despite the fact that they leave a mark on so many, mass shootings have an air of mystique around them. They create monsters; the kind that are immortalised in TV news broadcasts and Wikipedia pages. Unless we scour for them, we never witness the events that led them to that moment. All that we’re aware of is the brutal hysteria that stems from the act itself.
Laura (Laura Dern) works as a lawyer, and has been trying to convince her client that this case can’t be won. But after 8 months of hard work, she gives up and suggests a male lawyer who tells the client exactly the same thing. This time the client agrees, proving that sexism is still present.
Gina (Michelle Williams) is barely handling her marriage. She can’t make a connection with her daughter, and the only escape she gets is a morning run and a few drags of the occasional cigarette. Despite this, she keeps denying the existence of all of her problems.
Day two of Copenhagen Fashion Week started with a presentation from WeAreTheFaces: presentation, an augmented reality collaboration with Copenhagen-based creative studio Wang & Söderström in partnership with art consortium eVRy.one.
Presented at Café Væksthuset, hidden in Copenhagen’s University gardens, the collection was utility wear-heavy, creating a visible contrast between the masculine and feminine.
Copenhagen Fashion Week started with a bang as the Aalto University of Arts and Design graduate Reea Marie Peltola scooped up the world-renowned Designers’ Nest Prize.
The talent show, which took place at the prestigious Hotel D’Angleterre and was funded by Revolver, showcased the work of a collection of students from seven of the best design schools in the Northern hemisphere, bringing their work from across Iceland, Sweden, Finland and Denmark. They were competing for the coveted prize of 50,000 dk (£5800).
I’ll be honest. Before I was asked to speak to George Watsky and check out his gig at Glasgow’s King Tuts, I didn’t know a whole lot about the dude. My knowledge was limited to brief online encounters with the quirky American rapper. Once, as that high AF, pale kid that raps at lightning. And again, as that dude who wore the fucking awesome Society Original Products sweatshirt in a video I meandered onto once.
When it was announced that porn producer and performer Vex Ashley would be hosting a filmmaking workshop as part of the Scottish Queer International Film Festival (also known as SQIFF), my excitement was laced with a drop of apprehension.
There are real life magicians working today who have performed lesser feats than what Damien Chazelle has done with ‘La La Land’. Like, actual magicians. The kinds that pull rabbits from top hats and all that.
Even those who adored the director’s miraculous, perfectly paced debut ‘Whiplash’ were a little apprehensive at the thought of his follow up being a fully fledged musical. An appreciator of fine composition, both musically and in film, Chazelle has stuck to his guns here, presenting us with a rare, lovingly made movie that the messed up modern world has been calling out for.