Saturday, October 19, 2024 |
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| Hello! And welcome back to the IndyArts newsletter. No Jessie this week, so this is Louis Chilton filling in.
How is everyone doing today? I've spent much of the week squaring my eyeballs at the London Film Festival; I greatly recommend Andrea Arnold's new film Bird and the Malayalam-language drama All We Imagine as Light. Also among the pickings is the Donald Trump film The Apprentice, starring Sebastian Stan as Donald and Succession's Jeremy Strong as Roy Cohn; Clarrise Loughrey didn't really see why there's been such fuss about it. Then, yesterday, I went to see Dua Lipa at the Royal Albert Hall, which was, let's say, quite the evening.
The big story this week was the tragic death of former One Direction star Liam Payne; Mark Beaumont's piece about him is appropriately thoughtful. Jude Rogers's interview with bassist to the stars Pino Palladino is an interesting read, as is Chris Edwards's piece on the making of Team America: World Police. Claire Allfree spoke to bestselling novelist Jodi Picoult about Shakespeare, gender politics and more, while Mark chatted with none other than Lindsay Buckingham for this excellent anniversary feature on Tusk.
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| Liam Payne died aged 31 after falling from a third-floor balcony of a hotel in Buenos Aires (Getty) | |
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| It's election night. Oedipus is a slick 21st-century politician who promises to clean things up: his supporters campaign for honesty and truth with neat Obama-style graphic posters. But still, it's clear he's going to be dragged back down into some filthy, ancient muck. On stage, a digital clock is counting down the minutes and seconds to... what, exactly? Writer and director Robert Icke's brilliant reimagining of Oedipus achieves the monumental feat of taking a Greek drama where (almost) everyone thinks they know what's going to happen, and turning it into an exercise in tension, one that etches its message with the painful efficiency of a tattoo gun. | Alice Saville | Chief theatre critic | |
| In 2011, radio presenter Kirat Assi was enjoying a night out in Brighton. Across the dancefloor she saw someone she recognised: it was Bobby, a doctor who she'd been messaging on Facebook. They hadn't met in real life yet, and when Kirat went over to introduce herself, Bobby looked confused, as if he had no idea who she was. Watching Netflix's documentary Sweet Bobby, based on Tortoise Media's brilliant podcast, you will find yourself wishing that this strange incident prompted her to write off their friendship, delete the chats and move on so that she could have avoided what was to come. But this was only the start of Kirat and Bobby's story. | Katie Rosseinsky | Senior culture and lifestyle writer | |
| "Meet me at the disco-go-go-go…" beckons Kylie on her 17th album, Tension II. Although she has said these 13 tracks are mostly offcuts from last year's Tension, there's zero drop in quality as pop's flirtiest little glitter fairy keeps magicking up the dance floor delights. In fact, this is one of those times where the sequel occasionally outdoes the original: Tension II feels bolder, tougher and more inventive than its predecessor, while still flowing directly from the same fun and fizzy vibe. Kylie sounds like a woman a few shots into the party, totally owning her place in the middle of the dance floor, pulling a giddy guest list of producers and duet partners from their seats to whoop it up in her spotlight. | Helen Brown | Music critic | |
| DreamWorks Animation has put Shrek, Kung Fu Panda, and the rest of its merchandise fodder on the back-burner for a moment to chase after the verdant fantasies of Studio Ghibli legend Hayao Miyazaki. Their adaptation of Peter Brown's 2016 novel The Wild Robot is a beautiful little union between the Hollywood mainstream and the wider animation scene beyond. It preserves DreamWorks's broad, direct appeals to sentimentality while weaving in a little more of the thematic maturity and subtlety you might see over at Ghibli or Ireland's Cartoon Saloon. | Clarisse Loughrey | Chief film critic | |
| 'Sometimes the most torturous thing isn't just the disrespect or mistreatment, but the fact that everyone's acting like it's not happening' (Shutterstock) | | | The Oscar-nominated star of 'Up in the Air' and 'Pitch Perfect' has made her directorial debut with a terrifying story of a real-life serial killer. She speaks to Adam White about the traumatic relationship that led to her recent work, and why being seen as 'quirky and relatable' has its drawbacks |
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| Death by a thousand cuts: Kendrick in her new film 'Woman of the Hour' (Netflix) | |
| Read an extract from our Saturday Interview below… | Today, the 39-year-old sits in the stark white kitchen of her Los Angeles home. Her hair is sandy brown; she gnaws at her mouth. "Unfortunately, I do know that moment where you're in a room with someone and wondering: 'How is it that 10 seconds ago I thought everything was going fine, and now I'm not safe?'" Kendrick pulls the cuffs of her sweater over her fingertips, clutching them to her face. "And I think that's something a lot of people know really well. Especially women."
In 2022, Kendrick began to speak publicly about her relationship with a man whom she has described as "for all intents and purposes my husband". They were together for just over six years, during which – she has alleged – she experienced "emotional abuse and psychological abuse". Because of the themes of her directorial debut Woman of the Hour, which is streaming on Netflix, and those of her most recent movie, Alice, Darling – about a woman in an abusive relationship – it's hard to talk about Kendrick's work without talking about her personal life, too. She agrees, even if a part of her hates it. "For a second, I did think that interviews for this film would just involve me being asked about every member of the cast and the crew, and I'd just gush about them and..." She trails off, sing-songily. "But so far, no one's asked me about the sound team." She says this with a laugh, but I can't help but wince a little. It's that spark-plug energy. It's good at masking things. Read the full interview here | |
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