“I tend to be attracted to stories about outsiders,” Schwartz tells me at the beginning of our call, “about people who feel themselves not part of the culture or not part of the mainstream if you will, and are trying to figure out how to fit in, and what the cost is of doing so.”
A film that rests so prominently in the public’s psyche can be difficult to watch subjectively. The Godfather is nonetheless a masterpiece in its own right.
If Thomas Hardy had blessed his female characters with more than an “ephemeral precious essence of youth,” perhaps he would have produced something along the lines of Dorothy McDowell’s Casterbridge, an adaptation of Hardy’s 1886 novel The Mayor of Casterbridge.
"Against the backdrop of Majek’s enigmatic blue-toned figures, Spencer, with the help of a multi-roling, all-Black voice cast playing a broad spectrum of characters, reveals tantalising glimpses of these figures’ lives."
"It’s a bit of a mad play, and a lot of quite mad things happen, because that’s what happens when you translate Victorian characters into the modern era."
"From the play’s beginning, this immensely talented cast of Oxford students captured my imagination, and I was swept up by the story they had to tell."
Life, death, and birth are all present in Pablo Larraín’s Spencer and Pedro Almodóvar’s Parallel Mothers. Both films address, in different ways, what the meaning of motherhood is.
But it’s not good enough to leave it to often privileged tutors, canon-compilers and Education Secretaries to dictate which texts we study. Time and time again, they have failed to achieve even the remotest degree of representation, a damning outcome in a subject which is so linked to identity and the self. The texts we study at school and beyond should be chosen and shaped by the diverse populations reading them.