The past brings up unexpected treasures in Ingmar Bergman’s 1971 The Touch. This delightful tale of a woman’s journey towards inner freedom was wildly underestimated by critics when it was originally released – and often wildly misinterpreted – perhaps because of the life it portrayed. This is our gain: a new Bergman to discover, another facet of his work, rediscovered pleasures.
A half-forgotten but important episode in British history is given a new perspective in ‘Theatre of War’, an absorbing new film by Argentinian artist Lola Arias.
Dark River presents an unflinching gaze at something unpalatable: the way a traumatised person can be fiercely attached to the very thing that harms them.
Lady Bird is as eager to propel herself out of Sacramento as she is to fling herself out of her mother’s moving car when they suddenly argue. That moment captures perfectly their relationship, and the restlessness of a young person just on the cusp of independence. The only way forward – and out – is propulsive.
A love affair ends dismally, in the elegantly wallpapered breakfast room of a grand London townhouse: a suggestive Belgian iced bun is spurned. Johanna (Camilla Rutherford), her fine features just starting to wilt, offers her lover, the celebrated and fastidious couturier Reynolds Woodcock (Daniel Day-Lewis), a richly glazed, cherry-topped pastry. Johanna knows that her capricious lover’s appetite for food, and his amorous appetite, are one and the same. He tells her she is getting fat.