“What is it about the British?” a reader asked in one of last week’s comment threads. “They can’t quite make a film of current topical interest or [sic] lacks some historical or classical literary backdrop to give it a sense of importance.” The comment is one of many “typical British film” jabs I’ve read since […]

Continue reading »

“I think the French have always enjoyed older women, and they’re right to do so,” Kristin Scott Thomas told me in an interview nearly two years ago, when asked about the range of opportunities for actresses over 40 in the French film industry. “A life has been lived. There’s so much more at stake. The […]

Continue reading »

Hey, did you know I’m something of a Kristin Scott Thomas fan? If you didn’t, chances are you only just met me. Welcome. The precis version is that I think she’s one of the few great contemporary actresses currently working on career-peak form, and in two languages to boot. The non-precis version — well, dig […]

Continue reading »

What a shocker, right? In the nominations for France’s premier film awards, Jacques Audiard’s Oscar contender leads the field with a massive 13 bids. (Look out for my interview with Audiard, coming soon.) It’s nice to finally see some love for Niels Arestrup’s astonishing work in the film, but when a contemporary prison drama can […]

Continue reading »

I realize I’ve dropped the ball somewhat with my festival updates — between the to-and-fro of festival business, other writing tasks and the occasional impulse to have a personal life, a backlog longer than I care to count has accumulated of films yet to be discussed. Expect that to be partially rectified over a quieter […]

Continue reading »

(Apologies for the “Fantastic Mr. Fox” review that appeared prematurely here as a result of embargo confusion. It will be reposted later today.) There may have been silence on my end these past few days, but I assure you it hasn’t been for lack of activity. The days leading up to the London Film Festival […]

Continue reading »