Film

Film

Situated above Ronan Day-Lewis, the writer/director of " Anemone" and son of Rebecca Miller and the film's star Daniel Day-Lewis, in his apartment is a painting of a luminescent creature you'll meet in the film during a particularly dreamy sequence. Day-Lewis, 27, is a painter himself, having shown work in New York, Los Angeles, Hong Kong, and beyond. He spoke to me over Zoom from his place in New York, where he just premiered " Anemone " at the New York Film Festival.

said it believed creativity was, and should remain, human-centred. The union is opposed to the replacement of human performers by synthetics.

Guillermo del Toro is just about to release his epic new Frankenstein adaptation, swathed in self-conscious artistry and mythic self-importance. But this rereleased 1957 Hammer shocker from the screenwriter Jimmy Sangster and the veteran director Terence Fisher, shows the way it should be done with unpretentious energy and sly macabre gusto. In vivid Eastmancolor, it's a film electrified with its own melodramatic crassness, unencumbered with good taste and certainly uninterested in making either Frankenstein or his creature in any way tragically sympathetic.

This Macau-set cops-and-robbers thriller even has a little fun by introducing him as a retired cop turned dog walker called Wong, surrounded by a motley pack of pooches that he marshals expertly through the streets. Once the best surveillance man on the force, Wong's observational skills have not faded a jot, as he proves by recounting exactly which of his doggie charges pooped in what order. More importantly, he can still take on young ruffians a third of his age,

The space itself is a 3-story box beneath the cafe, painted white and projected on every wall and the floor with the show itself. There is stepped seating, as well as benches and pillows, to sit on the floor. There is also plenty of space for kids to run around and follow the specially animated elements projected onto the floor. The projections fit perfectly together, allowing for a shadowless and seamless viewing experience that truly encompasses all 360 degrees.

In the course of his three-decade career, the director Paul Thomas Anderson has dramatized the nineteen-seventies porn industry ("Boogie Nights"), the Californian oil boom ("There Will Be Blood"), and a mid-century London fashion house ("Phantom Thread"). Now he's trained his gaze on present-day America.

The writer-director has spent the last three-plus decades turning out idiosyncratic independent films that portray their characters with such intimacy that it feels like the screen is offering a temporary gift of telepathy. Her work is known for its deliberate pace as well as its tight scale, though it should be just as acclaimed for its capacity to undermine expectations.

Her not-quite-a-movie Taylor Swift: The Official Release Party of a Showgirl is on track to make $30 to $35 million at the domestic box office this weekend, and another $8 to $10 million worldwide, per Deadline. That would put its high-end estimate around $45 million, and we'd never bet against Swift, so don't be surprised if it hits that target.

It's almost impossible to consider what it was before it established a stranglehold on us, but there was a time when the internet seemed destined to be a beacon for technology's positive potential. Before we truly understood the dangers posed online, there was the optimistic belief that it would connect humanity for the better, democratize knowledge and information, and confront us with perspectives that we might otherwise have never encountered.

Champagne Bollinger has announced the release of the Special Cuvée 007 Limited Edition, a striking tribute to one of cinema's most iconic partnerships. Celebrating over 45 years as the official champagne of James Bond, this rare offering blends the timeless craftsmanship of Champagne Bollinger with the enduring legacy of the 007 franchise. The relationship between Champagne Bollinger and James Bond has captivated audiences since 1979's Moonraker, where the house became the official champagne of the world's most famous secret agent.

Perhaps Bette Davis and Joan Crawford's mutual loathing comes to mind? Or Marlon Brando's 40-year-old beef with Burt Reynolds? Maybe the more recent tensions between Olivia Wilde and Florence Pugh? Well, let me tell you: these are absolutely nothing compared to Cate Blanchett and her indefatigable animus towards the leaf blower. Seemingly every single leaf blower. Truly, this is one of the greatest celebrity animosities of this century.

The "kinky" film stars the True Blood actor as the leather-clad biker daddy Ray, who entices the meek traffic warden and barbershop-quartet fan Colin ( Harry Potter 's Harry Melling) into a dom/sub relationship. We first see Colin performing in a pub as a member of his dad's (Douglas Hodge) barber shop quartet. Across the bar he spies Ray playing darts and hanging out with other bikers.

All the Colours of the World Are Between Black and White (2023) First on our Black History Month list is this Nigerian romantic drama, which was the directorial debut of writer and director Babatunde Apalowo. All the Colours of the World Are Between Black and White follows two men, Bambino and Bawa, who connect over a photography competition. Outside of the competition, their relationship develops a tenderness which arises silently between the two men. As they explore the city of Lagos together their affection swells into deeply felt emotional attraction. However, any queer feeling must be buried publicly as expressions of homosexuality are illegal in Nigeria and punishable by up to 14 years of prison.

Gore Verbinski's bombastic return to the big screen starts with a bang - well, more accurately, a trickle. It's not easy to forget that this is the same man who delivered three gonzo Pirates of the Caribbean movies when his mysterious protagonist (Sam Rockwell) storms into a diner in the heart of Los Angeles, swathed in a plastic raincoat and covered in a series of tubes and wires... one of which empties a splash of urine onto the linoleum.

But now an artistic group from Austin, Texas, called Silents Synced and its director Josh Frank are offering a new approach to silent cinema: showing classics to music by established stars. This one, Radiohead X Nosferatu: A Symphony of Horror puts Murnau's 1922 vampire classic Nosferatu with Radiohead's Kid A from 2000 and Amnesiac from 2001. But I just couldn't make friends with this fundamentally wrong-headed idea.

The actress Mae West captured the elusive magic of movie stars best: "It isn't what I do, but how I do it. It isn't what I say, but how I say it. And how I look when I do it and say it." Stars are alluring but contradictory in nature, as much emblems of cinema's intimate magic as they are products of their time and place.

While the premise may sound on paper like the setup for a loud, crude 00s comedy, this is a much more finely tuned piece of work than that, with engaging characters and an impeccably calibrated plot full of plausible twists and turns that are wild yet still realistic.

The latest adaptation of Frankenstein, directed by Guillermo del Toro for Netflix, appears to be recentering the story on the creature (Jacob Elordi) and his perspective on his creator (Oscar Isaac). After being kept in the shadows, the creature takes center stage in the latest trailer, and we even get to hear his (surprisingly articulate) voice. Check out the trailer below: "My maker told his tale," the creature says, "And I... will tell you mine." This trailer positions the creature as the hero, with the doctor shown as an angry villain. "If you are not to award me love," the creature warns, "then I will indulge in rage."

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging. At such a critical moment in US history,

Filmed over seven years, Paris is Burning follows queer men and trans women of colour who illuminated the ballroom scene with shade, fashion and fierce voguing. Jennie Livingston's documentary follows the lives of members of the community, revealing the poverty, racism and homophobia they faced. It is a must-watch for anyone seeking to understand the origins of modern ballroom culture and the resilience of marginalised communities. It also touches on issues that remain prevalent today.

I have well established, for those with even a pittance of interest, that my taste in horror is not aligned with the mainstream. I mostly don't respond to allegory, and I need the images to do more than flash and provide the gore, which I also like plenty. In other words, I have never met another critic who likes either of the two movies I'm rhapsodizing today, the 2019 remake of "The Grudge" and Leigh Whannell's 2025 take on "Wolf Man": gory, widescreen odysseys about desperate people pushed into extranatural mysteries, breaking the chains of torment.

"There's a certain kind of energy that could be produced by a performative idea of communication, and that's what I'm interested in," said the Academy Award-winning director of "12 Years a Slave." "I'm not the kind of person who stands for an hour reading from a piece of paper. I think the audience needs more, and I feel I need to give more.

"I got a lot of, Yeah, you wouldn't get the money for that at the moment, I'm afraid.' So I said, Why not?' [They replied] Well, you know, if you want what comes with it' he said, according to Deadline."