latest – eZNews https://movies.eznews.xyz Tech News, Gaming, Travel Thu, 29 May 2025 15:56:43 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.1 https://movies.eznews.xyz/wp-content/uploads/2024/07/cropped-eznews-icon-1-32x32.jpeg latest – eZNews https://movies.eznews.xyz 32 32 Bogancloch review – film and landscape are as one https://movies.eznews.xyz/world-news/bogancloch-review-film-and-landscape-are-as-one-2/ https://movies.eznews.xyz/world-news/bogancloch-review-film-and-landscape-are-as-one-2/#respond Thu, 29 May 2025 15:56:43 +0000 https://movies.eznews.xyz/world-news/bogancloch-review-film-and-landscape-are-as-one-2/

In his 2011 film Two Years at Sea, artist/filmmaker Ben Rivers decamped to Scottish wilds with his hand-cranked 16mm camera and hung out with a bearded loner named Jake Williams. The film did little more than capture the everyday minutiae of a man who had chosen to partition himself from urban society and the company of others, yet the resulting film played more like a pastoral post-apocalyptic riff on something like The Omega Man. It’s over a decade later and we’re back in the woods with Jake, still eking out a happy existence in his tumbledown shack and drinking in the pleasures of the rugged and serene landscape.

The key difference with this new film, Bogancloch, is that there is more interaction with other people, with Jake now presented as someone slowly reintegrating with a primitive form of society – but strictly on his own terms. There’s a sequence where he’s shown with a group of intrigued highschoolers as he demonstrates the working of the cosmos with use of a wilting pub parasol and some old bits of string. Later on, he’s seen leading a nighttime sing-along of thematically fecund Scottish folk music. There’s something enlivening and hopeful in Jake’s world this time, where he sees potential and companionship in other people, even if for very short and sweet bursts.

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The material is elevated by Rivers’ typically-fastidious formal approach, where high contrast black-and-white film is processed in a way to leave glitches and blemishes in the frame, like the film itself is a relic that’s been dug up from underneath a trees tump. Indeed, all of Rivers’ films contain some element of this “found” quality to them, and in this instance you’re made to feel as if Jake himself would have concocted this thing from old ends of film reels discovered in a ditch. The film and landscape are as one, with the visual degradation echoed in the moss, rust and grime we see on the screen.

With so little context given about Jake’s situation and how he came to be out there alone, the film allows you instead to impose your own backstories and psychological justifications. There’s one sequence in which he starts rifling through a box of old music tapes and giving a couple of them a listen; the crackling music sounds like it’s from Asia somewhere, maybe India. You begin to wonder if Jake had been there and kept these tapes. Or maybe he was once married to an Indian woman way back when and we’re suddenly party to his own little trip down memory lane. It’s refreshing that Rivers and Williams have an understanding that, just because the camera is pointing at you, it doesn’t mean you need to narrate your actions and speak to the audience down the lens.

And yet, there are elements of performance in the film, where scenes have been pre-agreed and set up for show. In the climactic shot of Two Years at Sea, Jake is seen floating slowly across a lake. In this film, he warms up the water in an old tin bath and just marinates there, this time the camera itself floating away like a bubble caught on the breeze, leaving us with another vision of blissful contentment.

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]]> https://movies.eznews.xyz/world-news/bogancloch-review-film-and-landscape-are-as-one-2/feed/ 0 The Phoenician Scheme | Cannes Film Festival + Benicio Del Toro and… https://movies.eznews.xyz/world-news/the-phoenician-scheme-cannes-film-festival-benicio-del-toro-and/ https://movies.eznews.xyz/world-news/the-phoenician-scheme-cannes-film-festival-benicio-del-toro-and/#respond Thu, 22 May 2025 23:00:00 +0000 https://movies.eznews.xyz/world-news/the-phoenician-scheme-cannes-film-festival-benicio-del-toro-and/

Join­ing host Leila Latif are David Jenk­ins, Sophie Monks Kauf­man and Ele­na Lazic.

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

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]]> https://movies.eznews.xyz/world-news/the-phoenician-scheme-cannes-film-festival-benicio-del-toro-and/feed/ 0 Sentimental Value – first-look review https://movies.eznews.xyz/world-news/sentimental-value-first-look-review-2/ https://movies.eznews.xyz/world-news/sentimental-value-first-look-review-2/#respond Thu, 22 May 2025 09:35:48 +0000 https://movies.eznews.xyz/world-news/sentimental-value-first-look-review-2/

Noth­ing brings a fam­i­ly togeth­er like a funer­al, and at the wake for Nora (Renate Reinsve) and Agnes’ (Inga Ibs­dot­ter Lil­leaas) moth­er, their estranged father Gus­tav (Stel­lan Skars­gård) strolls through the door as though noth­ing has changed. His reap­pear­ance in his daugh­ters’ lived threat­ens to dis­turb the ten­ta­tive peace they both have, par­tic­u­lar­ly for Nora, a flighty actress suf­fer­ing from a cri­sis of con­fi­dence. To make mat­ters worse, the long-in-the-tooth film­mak­er has a new project in mind, and would like his eldest daugh­ter to star in it, despite Nora’s increduli­ty at her father’s return as though no time has passed at all.

Joachim Trier’s sec­ond col­lab­o­ra­tion with Renate Reinsve has a tough act to fol­low in The Worst Per­son in the World, which made a star of his muse and brought him to glob­al atten­tion through a star­ry release via Neon and MUBI. He returns to the ground­ed inter­per­son­al dynam­ics which occu­py his cin­e­ma, and in Sen­ti­men­tal Val­ue​‘s touch­ing open­ing, the nar­ra­tion recalls an essay Nora wrote as a child from the per­spec­tive of their fam­i­ly home, reflect­ing on its his­to­ry and the dis­in­te­gra­tion of their fam­i­ly. In a wry Tri­erism, the nar­ra­tor reveals that Nora redis­cov­ered the essay while look­ing for a piece to read for her dra­ma school audi­tion, ​“But chose Nina’s mono­logue from ​‘The Seag­ull’ instead.”

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Nora, Nina – the sim­i­lar­i­ties go deep­er than the name, both actress­es with a per­va­sive melan­choly, though Nora doesn’t seem to share Nina’s desire for fame at any cost. When we meet her as an adult, she’s actu­al­ly attempt­ing to flee from the the­atre she’s due to per­form in, beset by an anx­i­ety attack, to the frus­tra­tion of the staff who have to tape her into her cos­tume when she rips it in a pan­ic. She couldn’t be more dif­fer­ent from Rachel Kemp (Elle Fan­ning), the famous Amer­i­can movie star who con­nects with her father at a film fes­ti­val and ends up tak­ing the part in his film that Nora didn’t want. Rachel is young and sparky, hun­gry and stu­dious. For her, act­ing is the art of solv­ing mys­ter­ies; for Nora it seems more vital, allow­ing her to become some­one else. In her day-to-day she con­tin­u­al­ly bat­tles a sad­ness of which she can’t quite find the root; a par­al­lel is drawn between Nora and her pater­nal grand­moth­er, who died by sui­cide 15 years after being released from a prison camp for anti-Nazi activ­i­ties, and whose absence had a pro­found impact on Nora’s father.

Sen­ti­men­tal Val­ue is mov­ing in moments, and Tri­er and co-writer Eskil Vogt’s dia­logue is as sharp and quick-wit­ted as ever (a gag about the DVDs Gus­tav gifts his nine-year-old grand­son for his birth­day brought the house down in the Cannes press screen­ing) but the film falls short of the great­ness achieved in The Worst Per­son in the World or Oslo 31st August, which cov­ered sim­i­lar ground with more emo­tion­al depth. While the depic­tion of the strong bond between Nora and Agnes formed out of their par­ents’ dif­fi­cult mar­riage is touch­ing, the story’s con­clu­sion seems sign­post­ed from the begin­ning, and it oper­ates at the same emo­tion­al pitch through­out, with­hold­ing infor­ma­tion to the point that it feels like the char­ac­ters are being delib­er­ate­ly kept at a frus­trat­ing dis­tance. But Skars­gård is the best he’s been in years as a father fun­da­men­tal­ly unable to artic­u­late him­self in any way oth­er than his work, and obliv­i­ous as to why his daugh­ters feel such frus­tra­tion with him for a life­time of dis­tance, and there’s keen wis­dom in Sen­ti­men­tal Value’s obser­va­tion of the gulf between who our par­ents are and who we wish they were.

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]]> https://movies.eznews.xyz/world-news/sentimental-value-first-look-review-2/feed/ 0 LWLies 108: The Phoenician Scheme issue: Out now! https://movies.eznews.xyz/world-news/lwlies-108-the-phoenician-scheme-issue-out-now-2/ https://movies.eznews.xyz/world-news/lwlies-108-the-phoenician-scheme-issue-out-now-2/#respond Tue, 20 May 2025 14:33:32 +0000 https://movies.eznews.xyz/world-news/lwlies-108-the-phoenician-scheme-issue-out-now-2/

Every Wes Ander­son film is a major event on the cin­e­mat­ic cal­en­dar. It’s not mere­ly the film that is played in cin­e­mas and you saunter along on a Fri­day night to see it as big as pos­si­ble; a whole world emerges around it and the immer­sive lore draws you in with its irre­sistible whimsy. 

The Phoeni­cian Scheme is a film whose roots snake back to the pre­mière of The French Dis­patch in Cannes, where Ander­son men­tioned to one of his many stars, Beni­cio del Toro (at that point a Wes World debu­tant), that he had anoth­er project in the pipeline that he’d be keen to col­lab­o­rate on. Whisk on four years, one fea­ture (Aster­oid City), a hand­ful of shorts (includ­ing Oscar-win­ning The Won­der­ful Sto­ry of Hen­ry Sug­ar), and del Toro is suit­ed, boot­ed and very bruised as the most charm­ing arms deal­er in cin­e­ma his­to­ry, Zsa-zsa Korda.

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Styled after the great Luis Buñuel (in both his style choic­es and his grap­pling with spir­i­tu­al moral­i­ty), Zsa-zsa is ini­tial­ly seen pilot­ing a sab­o­taged plane as it plum­mets to earth. He mirac­u­lous­ly sur­vives the crash and then decides its high time he put his lega­cy in order. Enter Sis­ter Liesl (Mia Threap­ple­ton), his estranged daugh­ter who is now a woman of the cloth and duly appalled by her father’s activ­i­ties. He explains to her his ​“scheme” and assures that upon com­ple­tion she will be shot of him and have her birthright. With Michael Cera’s Nor­we­gian insect schol­ar Bjorn along for the ride, we’re final­ly set for adventure.

The Phoeni­cian Scheme is a film obsessed with ephemera, objects and art, pos­si­bly more so than any Ander­son film before it. We have jumped on this intrigu­ing design aspect and made an issue col­lect­ing togeth­er books, film, art and music. And for this issue, in the spir­it of this over­whelm­ing­ly tac­tile, phys­i­cal film­mak­er, we have includ­ed an array of hand­made art­work of the type where you can see the human fin­ger­prints on each piece.



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]]> https://movies.eznews.xyz/world-news/lwlies-108-the-phoenician-scheme-issue-out-now-2/feed/ 0 Final Destination Bloodlines + Zach Lipovsky and Adam Stein | Cannes… https://movies.eznews.xyz/world-news/final-destination-bloodlines-zach-lipovsky-and-adam-stein-cannes/ https://movies.eznews.xyz/world-news/final-destination-bloodlines-zach-lipovsky-and-adam-stein-cannes/#respond Thu, 15 May 2025 23:00:00 +0000 https://movies.eznews.xyz/world-news/final-destination-bloodlines-zach-lipovsky-and-adam-stein-cannes/

On Truth & Movies this week, we discuss Final Destination Bloodlines and spoke its directors Zach Lipovsky and Adam Stein about the latest entry in the horror franchise and then the LWLies team will be talking us through the latest from the Cannes Film Festival.

Joining host Leila Latif are Hannah Strong and David Jenkins.

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

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]]> https://movies.eznews.xyz/world-news/final-destination-bloodlines-zach-lipovsky-and-adam-stein-cannes/feed/ 0 Magic Farm review – Amalia Ulman has plenty up her sleeve https://movies.eznews.xyz/world-news/magic-farm-review-amalia-ulman-has-plenty-up-her-sleeve/ https://movies.eznews.xyz/world-news/magic-farm-review-amalia-ulman-has-plenty-up-her-sleeve/#respond Thu, 15 May 2025 14:39:39 +0000 https://movies.eznews.xyz/world-news/magic-farm-review-amalia-ulman-has-plenty-up-her-sleeve/

How do you fol­low up an acclaimed debut? Amalia Ulman’s answer is to com­mit to satir­i­cal absur­dism whole­heart­ed­ly. Fol­low­ing her 2021 moth­er-daugh­ter com­e­dy El Plan­e­ta, Ulman’s Mag­ic Farm sees the direc­tor return to her birth­place of north­ern Argenti­na for a far­ci­cal tale of a self-absorbed VICE-esque film crew descend­ing on a rur­al com­mu­ni­ty to pro­file a local, bun­ny-ear-wear­ing musi­cian. How­ev­er, they soon realise they’re in the wrong coun­try (it didn’t occur to their pro­duc­er that there’s more than one San Cristo­bal) and must scram­ble to amend their cat­a­stroph­ic error.

Cast­ing her­self as Span­ish-speak­ing Ele­na, Ulman’s char­ac­ter stands apart from the out­siders as a native speak­er. She’s repeat­ed­ly caught in the mid­dle, trans­lat­ing for the kind-heart­ed locals and the crew as they fab­ri­cate a viral trend to save the doc­u­men­tary. Ele­na is part of the junior crew mem­bers along­side wannabe cow­boy Justin (Joe Apol­lo­nio) and Alex Wolff’s whiny Jeff ​“schem­ing lit­tle bitch” Berg­er who brings bound­less phys­i­cal com­e­dy, sprawl­ing over every soft sur­face and cow­er­ing in cor­ners in an attempt to escape the mess he’s got him­self in. Then there’s appre­hen­sive TV host Edna (Chloë Sevi­gny) and her hus­band and pro­duc­er (Simon Rex).

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Though Rex and Sevigny’s appear­ances are sparse, Ulman has plen­ty up her sleeve with the younger trio hold­ing down the film’s diverg­ing sub­plots of a secret preg­nan­cy, a sex­u­al harass­ment scan­dal and the assem­bly of locals into a fic­tion­al reli­gious cult. The film’s abstract sense of humour nat­u­ral­ly stems from the lat­ter and the sur­re­al sit­u­a­tions that arise. Cumbia music and Latin Amer­i­can cul­tur­al nuances sprout from Ulman’s con­nec­tion to the coun­try and, like her char­ac­ter, her direc­to­r­i­al voice guides view­ers, trans­lat­ing as she goes but refus­ing to spoon-feed easy answers.

One of Mag­ic Farm​’s most com­pelling nar­ra­tive branch­es is an omnipresent health cri­sis that looms over the film. Locals, includ­ing a bemused hos­tel man­ag­er (Guiller­mo Jacubow­icz) and acci­den­tal doc­u­men­tary sav­iour Popa (Vale­ria Lois), mur­mur about undrink­able tap water and radio debates on the cor­re­la­tion between repro­duc­tive dis­or­ders and the tox­ic her­bi­cides sprayed on fields. This is the real sto­ry, one that they can’t (or refuse to) see. The igno­rant Amer­i­can arche­type is prod­ded play­ful­ly, but there’s a wider com­ment here about how press­ing sto­ries can eas­i­ly fly under the radar.

Cin­e­matog­ra­ph­er Car­los Rigo Bel­lver tracks these bum­bling Amer­i­cans down wind­ing dirt roads and through colour­ful homes, chron­i­cling their sur­re­al expe­di­tion with equal­ly hyp­no­tis­ing imagery. Ulman’s per­for­mance art back­ground informs the film’s opti­cal odd­i­ties, like a 360-degree cam­era, a visu­al dis­tor­tion that places char­ac­ters on a plan­et of her own cre­ation, a blurred fish-eye effect and a ​‘dog cam’ GoPro. Like a visu­al awak­en­ing, these vibrant images inter­rupt when the script veers towards con­ven­tion. Mag­ic Farm may not be a blan­ket crowd pleas­er, but Ulman’s smart writ­ing lands in a deeply opti­mistic place about the pure mag­ic of human connection.

To keep cel­e­brat­ing the craft of film, we have to rely on the sup­port of our mem­bers. Join Club LWLies today and receive access to a host of benefits.





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