دسته: فیلم‌های آینده و شایعات

  • Chicken Town review – how do you make a granddad…

    Chicken Town review – how do you make a granddad…



    Like the doddering sexagenarian at the centre of its plot, Chicken Town lumbers along, frequently mis-stepping and fluffing its lines. It’s a dull, eye-roll-inducing half-way house of a film, neither a biting, black comedy nor an uplifting, whimsical jaunt. British comedy royalty Graham Fellows stars as Kev, who teams up with teenagers, Paula (Amelie Davies) and Jayce (Ethaniel Davy) to sell the weed he’s accidentally grown in his allotment. The few sincere interactions between this central trio are the sole highlights of the film, as Fellows’ comedy talents are wasted in a flimsy script.

    Chicken Town bites off more than it can chew as a small-town, crime caper quickly spirals into conflict with the powerful family at the heart of the town’s livelihood and a serious of increasingly ridiculous acts of violence. However, instead of pouring effort into providing any standout, laugh-out-loud gags, the writer/​director overly relies on these sudden but brief moments of intensity to liven up his film. The less said about the racial prejudice levelled at Jayce’s friend, Lee Matthews Jr (Ramy Ben Fredj), the better. It’s tasteless, cruel, and painfully lazy. Come film’s end I was ready to hightail it out of Chicken Town as fast as I could.

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  • Athina Rachel Tsangari: ‘It’s about how easily…

    Athina Rachel Tsangari: ‘It’s about how easily…



    The playful surrealism of Greek writer/​director Athina Rachel Tsangari’s 2012 second feature, Attenberg, landed her on the map of filmmakers to watch, while also providing a curious starting point for a journey that has taken in withering satire (2015’s Chevalier), small screen domestic comedy (2019’s Trigonometry, made for the BBC), and most recently, the existential historical epic (2024’s Harvest), adapted from the 2013 novel by Jim Crace and starring Caleb Landry Jones. 

    LWLies: As someone from Greece, were you ever conscious of an outsider perspective on the material of this novel?

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    Tsangari: I felt like it was completely my story because I come from a long lineage of farmers who recently lost their island to a highway. It’s like the biggest highway that connects the centre of Athens all the way to the north. It literally went over my family’s ancestral land. We were labourers since I was like four years old. And it doesn’t matter what we’re doing in the city in the winter when we’re there, we were 100 per cent indoctrinated into the arts of the earth. So yes, it was a very personal. And also, I live in a borderland, a very poor border with migrants and migrant workers everywhere around me. So this particular historical moment, talking about the enclosure act, in a way, created the first recorded Western refugee movement.

    Yet Harvest is political without being polemical; it does not romanticise the world that is being lost. 

    It was more about posing the questions and not giving any answers. And also not being judgmental about about the central hero’s, passivity. And the townsfolk, are they innocent and naïve? Is it a prelapsarian innocence, or are they all complicit in their own downfall? Are they pacifists or are they violent? They’re both, you know. Even the mapmaker, has he been co-opted or is he just a romantic? It’s about how easily the narcissism of artists can turn into a tool in the hands of power. And you kind of forget that it has a real-world impact as well; that people see it as having a real-world impact.

    Tell us about working with Caleb Landry Jones and building this strange, anxious, passive character together. 

    I think he really suffered. And sometimes he would explode. He had to release all this tension. As a person himself, he’s just so proactive. He has so much respect for humanity. And he has such a such a strong code of honour. In terms of the story, there was so much against him that I think all of this conflict, all of this boiling inside him, really created a extraordinary world. And I would say he is inactive, but he’s not passive – because you can feel the tension inside him. You see it on his face, that he wants to do something. Yeah, but but feels like he can’t, it’s not his place. You know, he’s not quite ready to make a decision.

    The film looks absolutely gorgeous, shot on film by Sean Price Williams. How did that collaboration work? 

    The first thing that I do is a playlist before I even start bringing in images, because he works with music as an inspiration. I come from theatre, so I shoot the entire scene. I don’t stop. We don’t do coverage. The fact that he works with natural light is perfect for me. And then he also knows, when he shoots with me, he’s just going to set up a few lights and then hardly change them. And we’re going to shoot 360 degrees. No one will ever know when they’re going to be on camera. There is a sacred handshake between us. A secret relationship where we don’t talk. We don’t need to.





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  • Smurfs review – a drab exercise in IP filler…

    Smurfs review – a drab exercise in IP filler…



    We started, in 2011, with the pop singer-songwriter Katy Perry stepping into the pearly-white high-heels of that most coveted role in the world of animated voice-acting: Smurfette. She managed to retain the role for the 2013 sequel, but then lost it to pop singer-songwriter Demi Lovato, who took the reins for 2017’s Smurfs: The Lost Village. And now, in 2025, we have yet another pop singer-songwriter lending their dulcet tones to essay the only female Smurf in existence.

    Like the vaunted roster of famous actors who have played Hamlet, we will soon be able to namecheck that glorious lineage of actors who have tried their hand at Smurfette, with Rihanna stepping up to the plate for this latest incarnation. I loved your Smufette,” people will call from the jostling throngs outside a gala première, or from the front rows of a stadium concert. We only have to imagine who next will be tapped up to play animation’s most iconic lone female?

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    We mention this because the tagline Rihanna is Smurfette” appears to be the sole marketing strategy for this new piece of familiar filler fodder, its distributors obviously convinced that this is the only piece of information that potential viewers will need to know in order to convert them from Smurf curious” to Smurf client”. It’s interesting to see that most of the reaction from her fans to this headline star casting is some variation of, Rih-rih, why are you doing this instead of going back to the studio? It’s been nine years since the last record!”

    Sad to say, however, that her voice acting in Smurfs is not going to scratch that particular itch, as she and her brethren head off on a standard-issue inter-dimensional journey to prevent a magic book from slipping into the hands of Gargamel’s even-more-evil brother, Razamel. The plot is slipshod, the jokes are weak and the animation style offers very little to lodge into the memory. It has all the characteristics of one of those movies – that have become quite a regular occurrence now – where the only reason for its existence is to fulfil a contractual obligation and justify further retention of IP rights.

    Unlike the original Katy Perry-era films, which placed the animated Smurfs against live-action backdrops and alongside human actors, this one has occasional scenes of our lil’ blue pals wandering through the streets of Paris or London, but it all looks like anonymous stock footage. It’s such a strange and alienating creative decision, and almost lends the film an experimental edge.

    Elsewhere we’ve got some weak, showtune-esque musical numbers, some wacky alternative animated inserts, and a stop the bad guy from getting the thing” storyline that even the majority of its pre-teen audience will have seen a billion times before. This is so sub-par that it even had this reviewer secretly yearning for the Wildean-wit (relatively speaking) and toe-tapping musicality of the Trolls movies. And James Cordon, fittingly, gives his voice to a Smurf who has no purpose in the world.





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  • Friendship review – The Wario to I Love You Man’s…

    Friendship review – The Wario to I Love You Man’s…



    Making friends is hard. It’s even harder as an adult – while the media laments the ongoing male loneliness epidemic”, many men and women are still reckoning with hard truths unveiled during the sudden solitude of the Covid pandemic. The destruction of third spaces, widening gaps in lifestyle exacerbated by lack of disposable income and increasingly unsociable working hours, and the increasing inability to detach ourselves from screens have culminated in a cross-generational crisis whereby plenty of adults – from eighteen to eighty – are realising they just…don’t have friends. The protagonist of Andrew DeYoung’s Friendship is one such case: Craig Waterman (Tim Robinson) is a marketing executive with a beautiful wife (Kate Mara), nice house and affable teenage son (Jack Dylan Grazer) but no social circle beyond the occupants of his house, who seem distant from him. 

    This all changes when the Watermans mistakenly receive a package intended for their new neighbour. Craig drops it off and meets Austin: a handsome, charismatic TV weatherman with a fully-realised sense of self. (Naturally he’s played by Paul Rudd.) Craig is instantly smitten, and despite being the new guy, it’s Austin who welcomes his neighbour into his life, showing him his fossil collection, sharing his love of punk music, and confiding that he secretly yearns to do the morning weather instead of occupying the evening slot. A bromance is born – Craig seems to come alive, a better husband and father while basking in Austin’s light. Then a tragic reality comes to light: Craig can’t hang.

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    This middle-aged middle American, who wants so desperately to be part of something, moves out of step with his peers. He’s assimilated a personality (liking Marvel movies, making crass jokes often at the expense of his wife) but can’t quite cover up the Travis Bickle-level entitled rot that lurks at his core. He parrots humanity but doesn’t exhibit it. There’s something deeply pathetic about Craig Waterman, but also something unfortunately true. This is Robinson’s great gift as a comedian – those familiar with his Netflix sketch show I Think You Should Leave will recognise his full-body-cringe-inducing style of comedy, which is, admittedly, something of an acquired taste. (Connor O’Malley, a similar cult breakout, delivers the film’s most baffling, brilliant non-sequitur during his short cameo in the film.) That’s not to say Friendship is punching down; Craig is an entirely ordinary villain who is absolutely convinced he’s the good guy. A nice guy, even. It’s evident from the film’s first scene, where – during her cancer survivors support group – he expresses confusion when his wife admits she hasn’t orgasmed since before treatment. Plenty of orgasms over here!” he declares cheerily. 

    The same wildcard energy that made Robinson’s sketch series a cult classic is threaded through Friendship (DeYoung wrote the part with Robinson in mind). There’s a feeling that anything could happen at any moment, a strange pedestrian volatility to Craig that makes him just as likely to stew silently as to blow up in spectacular fashion, and the off-kilter sensation of something being not quite right is exacerbated by Keegan DeWitt’s oscillating score, which ramps up the tension with choral arrangements more typical of a horror film than a comedy. But Friendship arguably is a horror movie, evident in more than just its score and high wire tension between characters. The excruciating act of being vulnerable with another human being and the sweaty discomfort of realising a new friend is a bit off are mundane but relatable terrors, after all.





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  • A report from the bleeding edge of non-fiction…

    A report from the bleeding edge of non-fiction…



    Polish writer Witold Gombrowicz has a diary entry that I think about frequently – one of my favorites in literature. On a Wednesday in 1953, pertaining to a peculiar curiosity he felt developing, Gombrowicz asks: Around the corner… what will be there? A man? A dog? If it is a dog, what size of dog? What breed? I am sitting at the table and soon from now a soup will appear… but what soup?”. He adds: This fundamental experience has to this day not been adequately studied by art”. This was, of course, several decades before the CNFW, but it was meaningful for me to recognise, guided by the festival’s programme, just how filming one’s life or endeavour can propose to resolve the phenomenon described by Gombrowicz, that assignment of meaning to the void of possibility. 

    That’s what happens in the 2004 film Kings & Extras: Digging for a Palestinian Image by Azza El-Hassan who asks in Jordan, in Syria and in Lebanon, Where is the missing archive?”, referring to the films in the PLO Media Unit that went missing during the Israeli invasion of Beirut in 1982. The material is not present, so the film is built around this negative space.

    It’s what happens in MS Slavic 7 by Sofia Bohdanowicz and Deragh Campbell, where we follow Audrey, an amalgam of the two directors, as she investigates the letters between her great-grandmother, Zofia Bohdanowiczowa, and fellow Polish poet Józef Wittlin. Like Gombrowicz, Zofia and Józef were also displaced by WW2. Here the box of letters is present, but the material is impassive and monolithic: the filmmakers attempt to find its meaning.

    In Shared Resources, the 1PM Sunday screening, filmmaker Jordan Lord procures meaning in their parents’ domestic life, health and financial debt, the devastation of Hurricane Katrina still a stark piece of the past. The film is brilliant. Lord and their parents narrate, comment and discuss over the footage and after the fact, often describing things so minute as hand or face movements, building something like a painting or diorama of their relationship, every detail recognized and cared for as a family.

    Finally, L.A. based filmmaker Julian Castronovo offered a wholly different approach in his fascinating film Debut, or, Objects of the Field of Debris as Currently Catalogued, also a UK Première. It’s a dense, thrilling, slightly terrifying autofiction about a missing filmmaker called Julian Castronovo and his attempt to locate an enigmatic art forger known as Fawn Ma. The film is peppered with meta-commentary, as the protagonist is struggling to find financing for his first feature, and Castronovo has some pretty amazing answers to my questions, claiming that the things he made happen to his character demanded that a film was made about them”. A clear budding master of the personal film, he equates his method to existence in society; pretending to be a given person has always been a fundamental approach to being that given person. 

    Things got intensely meta as the festival team themselves appeared to grapple hands-on with these notions, in recursive fashion. At a certain point there was an impromptu showing of personal documentaries that Smith, Ipakchi, and Technical Director Nick Bush filmed about their friendship during the Caveh Zahedi UK Tour they organized this past March, as well as short films made by applicants of the workshop they hosted then. After watching the pieces, a kind of personal-life Q&A slash group therapy session with the co-directors ensued – I remember thinking, can other festivals claim that they have something like this?

    We vacate the mysteriously furnished room and the organization resets the placement of things. A single rug lies on the floor. This is the setup for the CNFW’s final surprise: a work-in-progress, brand-new interactive piece by film editor Joe Bini (All the Beauty and the BloodshedYou Were Never Really Here, and 27 films with Werner Herzog). A tablet is set up on a table, and I pick it up for reading. One-person only, this session. It gets really peaceful. A narrator in the book begins to describe a scene in San Francisco. At a certain point, things move to a TV, as I am seeing on screen the results of what I have been imagining. I faintly hear Howard Shore through the basement walls. It’s David Cronenberg’s The Shrouds playing in the other room: the festival’s stay at the Rio is coming to an end. 

    Bini’s piece is around 45 minutes long. It’s about the interpolating psychologies of being an author and being a reader. We have tea the following morning at the Bar Italia in Soho: this is not autofiction – it really happened. The weekend is over, and the effects of CNFW’s dedication to its world are beginning to be felt; everyone who came out for the festival is already reaping the rewards of a grassroots programme truly dedicated to its craft and audience. If a voiceover played somewhere at that point it would be about my return, camera in hand and all, coming to document the documenters in whatever plans they had next.





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  • Harvest review – remarkably compelling work

    Harvest review – remarkably compelling work



    As much as British cinema loves a period drama, for whatever reason the trials and tribulations of peasants get a lot less screentime than the aristocracy. In fact, probably the most insightful piece of media created around the pre-industrial working class is the Constitutional Peasants scene from Monty Python and the Holy Grail, where King Arthur argues with local serf Dennis about the anarcho-syndicalist commune” to which he belongs. Dennis would likely have some choice words about the happenings in the remote Scottish hamlet where Athina Rachel Tsangari’s Harvest takes place, as hundreds of years of humble farming are threatened by the unexpected arrival of a mysterious mapmaker.

    The local folk are naturally suspicious of outsiders, and after a barn is set on fire, they capture a trio of strangers, stringing the men up in the stocks and cutting off the hair of the woman, who flees into the surrounding forest. Walter Thirsk (Caleb Landry Jones) looks on with his piercing blue eyes; he’s a man of few words, but nothing much escapes his gaze. Walter knows the lands like the back of his hand, having lived there his whole life, but not always among the peasants who work the land. Once the direct employee of the benevolent but meek Master Kent (Harry Melling), Walter gave up his comfortable life when he fell in love and chose to work the land with his wife, until she passed away, leaving him alone and melancholy. His joy comes now from the natural world; in the film’s gorgeous opening sequence, he is seen roaming the wild fields, pausing to gently admire a butterfly upon his hand.

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    Walter favours a simple life, but he is decidedly not a simple man; when Kent introduces him to the talented mapmaker Philip Earle (Arinzé Kene) who is to complete a surveyance of the land, Walter regards him with a degree of suspicion. He is well aware that change need not be for the better, and despite how charming Earle is, immediately enamoured of the beauty of the countryside, Walt is right to be suspicious. Several days later, Kent’s decidedly less agreeable kinsman Edmund Jordan (Frank Dillane) arrives with grand plans to turn the land into sheep pastures, signalling the end of Walt’s rural idyll, and the beginning of rising tensions between the serfs and the gentry.

    The most impressive aspect of Harvest is Sean Price Williams’ stunning cinematography, which does justice to the rugged beauty of the Scottish coast, capturing every blade of grass and patch of claggy mud in arresting detail. Williams, a mainstay of the hallowed New York indie scene, is every bit as skilled at capturing the blazing sunset of 18th-century Scotland as he is the gritty streets of the Big Apple, and great thought has been put into the sensory aspects of Harvest, from its sound design that emphasises the howling wind, the lazy buzz of bountiful insects and, of course, the jubilant celebrations that come with the event which gives the film its name.

    In 2023’s Venice Film Festival, Landry Jones debuted his Scottish accent, remaining in character” throughout the press conference for Luc Besson’s Dogman. The dedication has mostly paid off, although he does sometimes slide towards Irish – Walt is a softer character than he typically gets to play, an almost monastic figure as he endures both the ire of his peers and the sneering new overseer, seemingly with no way out of his difficult lot in life. Walt’s persistent inaction and hesitation indicate his reluctance to lead, and the man is most comfortable when roaming the wilderness, but his community looks to him for leadership and Edmund Jordan expects him to toe the line.

    Perhaps the inferno which opens the film is an omen, the black smoke billowing into the sky like a signal fire, a warning of carnage yet to come. The kinship that develops between Philip Earle and Walt is the core of the film and perhaps its most tragic element, as they are good men placed in unfortunate positions. Yet sometimes the film’s subtlety is obfuscating, and Harvest could delve more into the almost instantaneous racism Earle faces as a Black man in an all-white community – his character suffers the most, and the film doesn’t have much interest in interrogating how systematic racism has its roots in early capitalism.

    It’s a tragic film, but never a melodramatic one – tensions build slowly, and although the sense of impending collapse is present from the start, Tsangari’s sharp sensibilities compensate for any predictability, with the key performances of Landry Jones, Kene and Melling standing out (Melling, it must be said, it’s perhaps England’s greatest hope for the future of character acting, always a delight when he turns up in a part) and providing Harvests emotional heft. Those hoping for the satire of Chevalier or absurdism of Attenberg might be surprised by the solemn straight-forwardness of Harvest, but it’s a remarkably compelling work (and even sometimes a funny one!) that mourns a land lost, crushed underfoot by rot that masquerades as progress.





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  • Long Hot Summer: The mythos of the pool on screen

    Long Hot Summer: The mythos of the pool on screen



    Later on, we see Ned teaching a little boy to swim in an empty pool, the water having been drained over safety concerns. Upon witnessing the boy’s skepticism, Neddy says, If you make believe hard enough that something is true, then it is true for you,” because, when I was a kid people used to believe in things.” This scene effectively summarises Neddy’s own delusion, with his attempts to revert to a state of childhood innocence shattered in the film’s final pool scene. Unlike Odysseus, Ned’s ending is not one of triumph. For the first time, we see him outside of the pool setting; having finally reached his own home, he finds the property overgrown with weeds, the tennis court unusable, and his family long gone. Back on dry land, Neddy’s childish illusion and dream of his all-American family” is no longer contained in a pool-shaped fantasy. 

    If The Swimmer is considered the pinnacle of the swimming pool canon, then 1967’s The Graduate is a worthy companion. The film follows Benjamin Braddock (Dustin Hoffman), who has just graduated from university. Upon moving back into his parents’ house, as he desperately tries to figure out what he wants to do with his life, he soon finds himself pulled into an affair with bored housewife Mrs Robinson (Anne Bancroft).

    Benjamin’s feelings of uncertainty and loss of freedom are best summarised in an extended sequence depicting a bronzed Benjamin floating at the bottom of a pool after being forced into a scuba suit on his birthday for the amusement of his parents and their friends. By shooting the scene from Benjamin’s submerged perspective – through narrow goggles, completely surrounded by water – director Mike Nichols invites us to view the world as Benjamin does. The camera pans to take in the suffocating blue abyss, emphasising Benjamin’s feelings of isolation in his own home. 

    In this moment, the film also masterfully utilises sound, with the only noise being Benjamin’s exaggerated breathing as he drowns out the sound of the party and therefore the expectations and responsibilities of adulthood. Later, we see Benjamin lounging on a lilo, after sleeping with Mrs Robinson for the first time. He remarks to his father upon his questions about whether he will be attending graduate school, that it’s very comfortable just to drift here”, perfectly summarising his feelings towards this shift. Lying on the lilo, he doesn’t have to choose between swimming or not swimming; the pool is a liminal space representing his awkward transition from boy to man. 

    Elsewhere, Alfonso Cuarón’s 2001 road movie Y tu mamá también, charts the transition of late teenagers with similar intensity, at a time of sociopolitical upheaval in Mexico. In a recent interview with Movie Maker, Cuarón revealed the film’s intrinsic link to youth: For us, this movie is about identity. Two young men seeking their identity as adults…together with that is an observation of a country that in our opinion is a teenage country looking for its identity as a grown-up country.” 

    Both Julio (Gael García Bernal) and Tenoch (Diego Luna) have finished school and are seduced by the allure of being by the water during the long hot days of summer, free from their highschool girlfriends and as fluid as the element they inhabit. In a demonstration of their infantile energy, we see these two boys compete against each other in swimming and masturbating contests in the Olympic-size pool at the country club where Tenoch’s father is a member, while fantasising about Salma Hayek and Luisa (Maribel Verdú), la españolita”, the wife of Tenoch’s cousin. A high-angle long shot shows the boys side by side lying on adjacent springboards, engaged in simultaneous masturbation, before an underwater shot shows a squirt of semen entering the water, foreshadowing their journey of sexual discovery. 

    As their relationship with Luisa intensifies, the boys once again swim together, this time in a distinctly less well-kept motel pool overflowing with leaves. This change in setting embodies the boy’s evolving relationship, which is now entirely symbolic of their competition for Luisa’s affection. Julio has seen Tenoch and Luisa having sex and walks out to sit at the edge of the pool. The narrator says that Julio has only ever felt anger like this when he saw his mother with a man when he was a child. Instead of talking, they decide to race again. A victorious Julio reveals that he slept with Tenoch’s girlfriend; the narrator states that Tenoch had only ever felt like that when, as a child, he read an article about his father selling contaminated corn to the poor. It is critical that the boys’ ambivalent relationship with one another is backdropped by swimming pools because it allows us to understand how they each construct their concept of sexual identity in relation to their own youthful experiences. They are not yet mature enough to express certain emotions which continue to bubble under the surface. 

    At the end of the film, a significant shift occurs when the constrictive, self-contained pool is exchanged for the vast expanse and unknown of the ocean. Choosing to stay in rural Mexico alone, Luisa submerges herself in the ocean, and so enacts a kind of symbolic death. Tenoch and Julio were drawn to Luisa just as they are drawn to water, yet their eventual return home signals their acceptance of meeting their parents’ expectations. As both the boys and country open themselves to the unknown, Cuarón leaves us with a final message: Life is like the surf. Give yourself away like the sea.” 





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  • Brats in Bondage: Lessons in defiance from Tank…

    Brats in Bondage: Lessons in defiance from Tank…



    AI overlords, environmental deadlock, obscene wealth inequality, and emergent authoritarianism – it all reads like the opening crawl of some cult-classic dystopian flick, but unfortunately for us, it’s just the state of things in 2025. Dystopia looms. How is one to manage? One suggestion: Fight fiction with fiction and cope like a main character. 

    For inspiration, look no further than the petulant, performative, and perpetually horny protagonist of Rachel Talalay’s Tank Girl (1995). Sure, Tank Girl is raunchy and ridiculous (and that’s what makes it wonderful) but look closer. Beneath the absurdity lies a playbook for protest and defiance that (also unfortunately for us) feels disconcertingly relevant. Although every third country or so seems to be making a hard turn right, there’s still time to course correct – time to push back against the fledgling dystopias. 

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    And Tank Girl tells us how. 

    It’s 2033. Eleven years previous, a comet crashed into Earth and destroyed the climate. The resulting drought led to the creation of Water & Power (W&P), a corrupt corporation led by the comically depraved Kesslee, who control[s] most of the water and got all the power.”

    Enter Tank Girl, played by Lori Petty: A water-stealing, tank-obsessed wastelander living it up in the desert until a W&P raid destroys her happy-go-lucky life and launches her into a kink-coded bid for revenge. 

    Let’s be clear: There are a lot of differences between a bad dom with a poor grasp of kink essentials and an authoritarian régime like W&P (and its non-fictional equivalents) …but there are also quite a few similarities. 

    In her dalliances with W&P, Tank Girl illustrates an ethos most in the kink community will recognize. Control is achieved consensually, or not at all. It exists only when given, and can be revoked at any time. In this equation, submission is an informed, freely-made choice, and defiance is always an option. For Tank Girl, defiance is just a way of life – she’s a quintessential brat and recognizes power struggles for the poorly disguised game that they are. 

    These moments of defiance often hinge on Tank Girl’s understanding that her appearance and mannerisms create a set of assumptions about her strength and intelligence. She uses these assumptions as ammunition, transforming them into a weapon rather than a tool of her own subjugation. 

    During the W&P raid, for instance, Tank Girl unknowingly performs a strip tease for a W&P guard she incorrectly assumed to be her boyfriend. As the barrel of a gun intrudes upon the scene, the dynamic changes: The guard nods for her to continue, and she does, leaning into his (false) assumption that she is a sexual, submissive creature for the taking. 

    That assumption is his undoing. She knows the role expected of her and plays it well. The illusion of control lasts until the very moment she decides to revoke it – the very moment the guard meets his fate at the end of his own grenades. The strip show turns into a murder scene. Conventional power dynamics turn on their head. And Tank Girl emerges on top.

    Whether facing imprisonment in a claustrophobia-inducing torture device aptly named The Pipe” or shivering after a night spent in a freezer, Tank Girl defies fear. She elects not to give her captors the response they expect. In doing so, she disarms them.

    This philosophy is implicit throughout the film, but is at its most overt while Tank Girl is imprisoned in a W&P labor camp. There, she meets Jet Girl (Naomi Watts), a beaten-down prisoner. After Tank Girl saves her from yet an obsessed prison guard who doesn’t know how to take no” for an answer, Jet Girl explains her ethos for surviving under W&P’s thumb: The better you behave, the more they leave you alone.” 

    Yet audiences of 1995, 2025, and 2033 all know this to be patently untrue. In restrictive environments such as these, no one is safe, no matter how meekly they submit to the shackles. Tank Girl knows it too.





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  • F1 + Joseph Kosinski | M3GAN 2.0 | Speed Racer (2008)

    F1 + Joseph Kosinski | M3GAN 2.0 | Speed Racer (2008)


    Orange background with cream text "TRUTH & MOVIES" podcast logo. Three film stills below: Brad Pitt in F1, M3gan in M3gan 2.0, and still from 2008's Speed Racer

    On Truth & Movies this week, we discuss the high speed blockbuster F1 and spoke to its director Joseph Kosinski. Next up we review the horror sequel M3GAN 2.0 and finally, for film club, revisit 2008’s Speed Racer.

    Joining host Leila Latif are Kambole Campbell and Iana Murray.

    Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.

     

    Email: truthandmovies@tcolondon.com

    BlueSky and Instagram: @LWLies

     

    Produced by TCO



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  • 28 Ways Later | Little White Lies

    28 Ways Later | Little White Lies



    If Danny Boyle and Alex Garland’s much-feted 28 Years Later taught us anything, it’s that the UK has struggled to cope with being Ground Zero for a zombie apocalypse. Cut off from the rest of the world, the nation’s infrastructure and culture crumbled at the point of origin: sometime in late 2001 (when 28 Days Later was filmed). With this in mind – plus the gonzo out-of-nowhere ending of the film, largely indecipherable to non-British audiences with no knowledge of who Jimmy Saville is – we’ve been thinking. How else might the rage virus and demise of the British Isles impacted the world? Until Alex Garland reveals more lore in 2026’s 28 Years Later: The Bone Temple, allow us to speculate…

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    1. The last-ever Premier League table is topped by Sam Allardyce’s Bolton Wanderers.
    2. Based on the streaming video capabilities of the circa-2001 internet, it is unlikely that any survivors, certainly by the time of 28 Years Later, had ever rubbed one out to online pornography. Old copies of FHM and Loaded have become their own form of currency.
    3. The cast of recently-broadcast sitcom The Office tragically succumbed to the rage virus, ensuring that Ricky Gervais’ career never took off and that the US was never really exposed to it in any meaningful capacity. Mike Schur never remakes the show for a US audience, thereby narrowly avoiding ruining network television for years to come.
    4. JK Rowling’s brain worms were unable to fight back the rage virus, and the final three Harry Potter books were never written. Not only does this lead to the anti-trans movement in the UK never really taking hold, it results in the first Harry Potter movie never being released in late 2001. Decades later, people talk about it like The Day the Clown Cried.
    5. Without music execs Simon Fuller and Simon Cowell living long enough to ensure Pop Idols success, American Idol and The X Factor never exist, completely changing the television and music landscape of the 2000s. More tragically: One Direction were never formed.
    6. Margaret Thatcher, who began to exhibit symptoms of memory loss around 2000 but did not retire from public life until early 2002, died not of a stroke but of being eaten by an infected, and was almost certainly lucid enough to understand what was happening.
    7. Similarly, Britain’s then-Prime Minister, Tony Blair, was eaten by a zombie while trying to flee the capital on a chopper shortly after giving a radio broadcast urging the nation to maintain calm and dignity.
    8. Charli XCX survives the rage virus as a child, but instead of dedicating her life to music, she starts her own Jimmy-style cult in Essex, in which she refers to all her peers as brats. As such, Brat Summer still happens. Just with more severed heads.
    9. Banksy, who was in Mexico in 2001 working with an art activism collective, inadvertently survives by virtue of being out of the country. He becomes even more famous, his art gets even worse, and he wins the Nobel Peace Prize for installing a large mirror against the exterior wall of the abandoned British Consulate in New York, with a sign that reads The Real Zombie’.
    10. Instead of Love Island ever coming to pass, a reality television series funded by a French production company is briefly piloted. Entitled Peste Île’ (Plague Island) it sees a team of wilderness enthusiasts attempt to survive in the Forest of Dean for a fortnight. The project is abandoned after all 20 contestants die within a week.
    11. The final Number One single the UK ever experienced was Bob the Builder’s cover of Mambo Number Five.
    12. After word gets out about the rage virus first developing in apes, animal testing is banned globally. Greater awareness and empathy towards the great apes leads to greater conservation efforts; none of the species are endangered.
    13. Paddington Bear never received a revival via Paul King’s charming films. Instead, following global demand for British nostalgia products, it is Rupert the Bear who becomes the world’s favourite fictional ursine character.
    14. With no internet and limited access to power, watching VHS tapes is a rare treat for the people of England. Mostly they relay what they remember of old films and television shows through word of mouth. This leads to some obvious embellishments and alternate versions. No one can agree on what exactly Noddy was.
    15. Elton John, who was in LA at the time of the outbreak, recorded another charity version of Candle in the Wind’ dedicated to all those lost to the rage virus. All the proceeds go to survivors who made it out of the United Kingdom before it was declared a no-go zone.
    16. The loss of the UK actors delays the production of the television adaption of George R. R. Martin’s Game of Thrones even more than it already was, and the author feels less pressure to fulfil expectations. At the same time he also doesn’t become embarrassingly rich, which reduces his distractions. The A Song of Ice and Fire’ series concludes in a timely fashion. Eventually plans for a television adaptation are abandoned altogether because they can’t find enough actors who can do good Northern accents.
    17. Boris Johnson is tragically killed trying to prove zombies are perfectly harmless with the right handling” during a publicity stunt in an aborted mayoral campaign for the London enclave.
    18. As we see in 28 Years Later, the Angel of the North remains standing – as do many of the UK’s landmarks, including the Clifton Suspension Bridge and the Folkestone White Horse. Big Ben, however, stops bing-bonging three years into the pandemic due to lack of maintenance. The large crowd of zombies drawn towards it every hour due to the noisy bing-bongs are most confused.
    19. Top Gear never aired, thus preventing a generation of men from building their entire sense of humour around it.
    20. Due to the chaos of the virus, many animals escaped from zoos. Although most were eaten by the infected or desperate humans, some survived and even thrived. Notable additions to the UK wildlife include a herd of zebras running loose on Cannock Chase and Chester Zoo’s big cat collection, who thrive on the England/​Wales border.
    21. Gorillaz only released a single, self-titled album, with the fate of Albarn and Hewlett unknown to the wider world, elevated to mythical status. But in reality, they continue to work on the project well into the end times. Demon Days’ never makes it out of the UK, but becomes the stuff of legend within the island, with bootlegs cassettes duplicated and shared around by travelling merchants.
    22. The Oscars’ annual In Memorium’ segment was replaced with a musical tribute to Great Britain. There was a tasteful powerpoint featuring various British actors who succumbed to the virvirus,ile Elton John performed his new cover of Candle in the Wind’.
    23. Die Another Day was never filmed, and Pierce Brosnan’s time as Bond finished with The World Is Not Enough. After a decade of warring over the rights, Hollywood went ahead with a reboot. It absolutely tanked.
    24. A decade after the rage virus outbreak, David Fincher and Aaron Sorkin teamed up to make a tasteful drama about it called The Viral Network’. It won Best Picture at the 2012 Oscars.
    25. Meanwhile, numerous film projects are scrapped in the interest of good taste because their disease-related plots are considered to be too soon.” The zombie genre is effectively dead for at least a decade, while academics pontificate on how in retrospect, it’s obvious that the pop culture about pandemics was a collective anticipation of Rage. George R. Romero retires and lives the rest of his life in haunted shame for things he really has no control over. However, in the early 2010s, an upstart filmmaker named Eli Roth (whose debut, Cabin Fever, was shelved due to the outbreak) makes the first major zombie movie in a long time, drawing tremendous controversy but a huge box office take, reviving the genre.
    26. Prince William, on his gap year in Africa, is the only surviving member of the Royal Family after the Queen Mother turned and infected everyone at Sandringham. He resettles in Cape Town and in subsequent years haunts the European party circuit, befriending the deposed Hapsburg and Bourbon claimants, and waving to an increasingly indifferent crowd at F1 races (which Verstappen dominates to a tiring degree in the absence of Lewis Hamilton). He is referred to colloquially as The Dauphin of Rage Island”.
    27. The Great British High Street is frozen in time at its zenith. No vape shops, no American candy shops, no Harry Potter souvenir shops or Cash Converters. On TikTok, teenagers post grainy photographs of random British town centres with Take me back to this <3’ set to Robbie Williams’ Angels’.
    28. For obvious reasons, the 2012 London Olympics never happened. Danny Boyle never directs the opening ceremony. Hang on…did Danny Boyle survive the zombie apocalypse? 





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