It’s a strange feeling to stare into the void of a Zoom loading screen, waiting for a two-time Oscar winner to join the call. But that’s what I did one Sunday morning, counting the seconds until my interview with Cate Blanchett began.
"But when I talk of Bogarde ‘telling the story of himself’ through his performances, I’m not just talking about a few quirked eyebrows and suggestive comments. What shines through in so many of his films is compelling bitterness. Within the Wildean wit and affable flamboyance was a cold, grudge-bearing streak: he had a number of fellow actors and directors whom he inexplicably viciously turned against, including John Mills and Richard Attenborough. On film work, he stated flippantly but firmly in a letter to film critic Dilys Powell, "I detest the job and most of the time I detest the people.""
CW: Mentions of suicide
In a previous Cherwell column, I wrote that cinematographers manipulate an audiences’ viewpoint. If that is the case, then editors are...
"Of all the books that explore the question of how and why we learn, I find that Frank Herbert’s Dune offers an unsettling, prescient answer to this question."
The rise of antiheroines stresses essentially the same thing every wave of feminist movement attempts to accentuate, that a woman’s refusal to be suppressed and abused by patriarchy is always less threatening, when what they’re rebelling against is still prevalent
"Musicals centred around teenagers are destined to become ‘cult’ shows: their audience is intrinsically niche, and, due to their youth, unlikely to be able to sustain commercially and critically successful runs, leading these shows to fan-centric cult status."
Katie Kirkpatrick analyses how teen films are journeying from Hollywood to Broadway and the West End.
"In Being Mr Wickham, Lukis and Curzon have had relatively free reign to develop the titular character, given that Austen doesn’t reveal much about Wickham’s past other than his involvement with Darcy."
Beth Proctor discusses the latest left-field adaptation of Jane Austen's classic.
Scarlett Colquitt responds to the claim that "women directed films have a softer tone" with an examination of role of female directors in today's film industry.
'Godard gives us a film that shows the white knight as the charlatan we always knew him to be and offers us the anti-hero instead. And after decades of excessively moralistic cinema, this breath of fresh air was thoroughly needed.'
