Guy Lodge: Celebs Rumors

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‘The Summer Book’ Review: Glenn Close Takes a Healing, Very Hygge Holiday

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Guy Lodge Film Critic Tove Jansson’s 1972 novel “The Summer Book” wasn’t a memoir, but it was a memory piece of sorts — its slender narrative of largely unspoken grief and healing imbued with, and enriched by, the author’s palpable feeling for its remote Gulf of Finland island setting, where she herself maintained a rustic holiday house. That it’s taken over half a century for this well-loved book to reach the screen isn’t altogether surprising: That level of subtextual authorial attachment makes it a challenge to film, as does its spare, outwardly low-stakes storytelling.
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‘Joy’ Review: Thomasin McKenzie and Bill Nighy Fight the System to Pioneer IVF in a Crowd-Pleasing Medical Biopic
Sony Pictures Classics Buys Steve Coogan Dramedy ‘The Penguin Lessons’ After TIFF Debut (EXCLUSIVE)
Albert Serra’s Bullfighting Doc ‘Afternoons of Solitude’ Wins Golden Shell at San Sebastián, as Pamela Anderson and ‘The Last Showgirl’ Take Jury Prize

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‘The Sparrow in the Chimney’ Review: A Heady Summer Bonfire of Combustible Family Relations
Guy Lodge Film Critic The opening frame of “The Sparrow in the Chimney” evokes a kind of art-directed ideal of country living: In a spacious, rustically textured farmhouse kitchen, mid-afternoon sunlight pours in through open windows so large they double as French doors, looking out onto rolling, summer-kissed lawns and hazy woods beyond. A regal ginger cat slinks in over the sill, as amplified birdsong and insect chatter also seem to blur the indoor-outdoor boundary.
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‘The Summer Book’ Review: Glenn Close Takes a Healing, Very Hygge Holiday
Guy Lodge Film Critic Tove Jansson’s 1972 novel “The Summer Book” wasn’t a memoir, but it was a memory piece of sorts — its slender narrative of largely unspoken grief and healing imbued with, and enriched by, the author’s palpable feeling for its remote Gulf of Finland island setting, where she herself maintained a rustic holiday house. That it’s taken over half a century for this well-loved book to reach the screen isn’t altogether surprising: That level of subtextual authorial attachment makes it a challenge to film, as does its spare, outwardly low-stakes storytelling.
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‘Joy’ Review: Thomasin McKenzie and Bill Nighy Fight the System to Pioneer IVF in a Crowd-Pleasing Medical Biopic
Guy Lodge Film Critic “Joy” has been a much-used title in recent years, one that a new film about the battle to develop in-vitro fertilization treatment justifies recycling once more with a late-film reveal: It was the middle name given to Louise Joy Brown, the world’s first so-called “test-tube baby,” and the first successful outcome in over a decade of agonized, controversial medical research. But joy is also the primary MO of this debut feature from British TV comedy director Ben Taylor (“Sex Education,” “Catastrophe”), which assigns itself the somewhat tricky task of fashioning an uplifting audience-pleaser from story material in which moments of elation are considerably outnumbered by those of crushing heartbreak.
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Sony Pictures Classics Buys Steve Coogan Dramedy ‘The Penguin Lessons’ After TIFF Debut (EXCLUSIVE)
Sony Pictures Classics has acquired “The Penguin Lessons,” an uplifting dramedy starring Steve Coogan as a teacher who forms an unlikely bond with a feathered friend. Peter Cattaneo directed the film, which premiered at this year’s Toronto Film Festival. It’s adapted by Jeff Pope from Tom Michell’s 2016 memoir.
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Albert Serra’s Bullfighting Doc ‘Afternoons of Solitude’ Wins Golden Shell at San Sebastián, as Pamela Anderson and ‘The Last Showgirl’ Take Jury Prize
Guy Lodge Film Critic Sometimes, in a closely contested festival competition, it pays to be the one thing that isn’t like the others. A starkly powerful, observational study of contemporary bullfighting, Spanish auteur Albert Serra’s “Afternoons of Solitude” was the only documentary in the main competition at this year’s San Sebastian Film Festival — and this evening won the Golden Shell for best film of the festival, beating some big-name narrative competition.
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San Sebastián Film Festival Award Winners (Updating Live)
Guy Lodge Film Critic “Hard Truths,” “Conclave” and “Emmanuelle” are among the films competing for the Golden Shell at the closing night awards ceremony at the San Sebastián Film Festival, which is currently under way. This post will be updated live with the winners below, with a full report to follow.
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‘Afternoons of Solitude’ Review: Albert Serra Observes the Matador Life In All Its Absurd Beauty and Obscene Bloodshed
Guy Lodge Film Critic Albert Serra‘s “Afternoons of Solitude” begins not taking the bull by the horns, but looking it in the eye. It opens on a blunt close-up of a magnificent bovine specimen staring straight to camera, its gaze somehow confrontational, even as its pupils are nearly lost in the glossy obsidian monument of its head.
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‘When Fall is Coming’ Review: François Ozon’s Deceptively Calm, Collected Film About an Unraveling Rural Retirement
Guy Lodge Film Critic True to its title, François Ozon’s new film “When Fall is Coming” is awash in the aesthetics of what people far younger than its octogenarian protagonist would call autumncore, with a bit of cottagecore for good measure. In the sleepy, picturesque Burgundy valley where it largely unfolds, the leaves are rusting and crisping, chunky knitwear is coming out of hibernation, and through the screen, you can just about feel the air turning cold enough to splinter.
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‘Serpent’s Path’ Review: Kiyoshi Kurosawa Turns to His Own Back Catalogue, With Coldly Compelling Results
Guy Lodge Film Critic “The first version is the work of a talented amateur,” said Alfred Hitchcock to François Truffaut of his 1934 thriller “The Man Who Knew Too Much,” remade by Hitch himself in 1956. “The second was made by a professional.” Few are the filmmakers who gather sufficient career mileage and goodwill to take a second pass at their own work; fewer are those who make something worthwhile in the process.
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‘Modi, Three Days on the Wing of Madness’ Review: Johnny Depp’s Broad, Busy Modigliani Biopic
Guy Lodge Film Critic Celebrated in time for his distinctively lanky, almond-eyed interpretations of the human form, the Italian painter and sculptor Amedeo Modigliani died in 1920 at the age of just 35, tubercular and destitute and celebrated for very little indeed. At 61, Johnny Depp has both handily outlived Modigliani and outranked him in terms of antemortem celebrity.
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‘Emmanuelle’ Review: Notionally Revisionist Remake of the Softcore Classic Is One Big Anti-Climax
Guy Lodge Film Critic On paper, a contemporary feminist spin on “Emmanuelle” sounds like a zesty idea. An ostensible portrait of liberated female sexuality firmly ossified in patriarchal politics, Just Jaeckin’s 1974 softcore smash is the kind of cultural touchstone so emblematic of its era that the very act of remaking it qualifies as a symbolic statement of sorts.
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‘The Penguin Lessons’ Review: Steve Coogan Finds His Happy Feet in a Gentle True-Life Tale
Guy Lodge Film Critic Argentina’s 1976 military coup d’état, along with the sustained period of violence and forced disappearances that it ushered in, isn’t an obvious historical backdrop for a heartwarming tale of human-animal bonding. But that’s how the timing worked out for Tom Michell, an English teacher stationed at an elite Buenos Aires private school, at the time of the turmoil: With the country in chaos and many of his colleagues in crisis, he was figuring out what to do with the Magellan penguin he had accidentally adopted on a weekend jaunt to Uruguay.
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‘Diciannove’ Review: A Vivid, Humane Evocation of What It’s Like to Be 19 Years Old, With the World at Your Feet and Over Your Head
Guy Lodge Film Critic Nobody talks much about the age 19. It doesn’t come with the exciting avalanche of adult rights that come with turning 18, or the milestone symbolism of 21.
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‘Finally’ Review: Claude Lelouch’s Bizarre Male-Crisis Comedy Feels Like a Farewell
Guy Lodge Film Critic Five years ago, French writer-director Claude Lelouch returned, for the second time, to the site of his greatest career success with “The Best Years of a Life,” an autumnal sequel to his trend-setting 1966 romance “A Man and a Woman” that felt elegiac in multiple senses — not least since it turned out to be the final onscreen appearance for both its stars, Jean-Louis Trintignant and Anouk Aimée. Anyone who assumed it might be Lelouch’s sign-off, however, was quite mistaken.
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‘Sanatorium Under the Sign of the Hourglass’ Review: The Quay Brothers’ Surreal Stop-Motion Fantasia Is a Mouthful, an Eyeful and a Mind-Melt
Guy Lodge Film Critic Time, space and mortality work to no earthly schedule in the half-lit, hand-made twilight world of “Sanatorium Under the Sign of the Hourglass” — so it’s appropriate that this vertiginous stop-motion vision seems to operate by temporal laws of its own. The first feature film in nearly 20 years from cult animators the Quay Brothers runs just 76 minutes, though in the process of watching it, it feels both infinitely longer than that and over in the blink of an eye, like a dream of epic proportions that you forget seconds after waking.
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‘Peacock’ Review: A Zingy Austrian Comedy Follows a Friend-For-Hire In Desperate Need of a Real Connection
Guy Lodge Film Critic Considerate, cultured, polite, patient, a good listener, easy on the eye: Matthias is the kind of man almost anyone would be glad to have as company. In turn, he’s glad to be company to almost anyone: a middle-aged singleton seeking a date to a classical concert, an elderly married woman who can’t talk to her husband, a man his age who needs a fake boyfriend to secure an apartment lease.
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‘And Their Children After Them’ Review: A Delinquent Crime Echoes Through the Years In an Overblown Youth Melodrama
Guy Lodge Film Critic French writer Nicolas Mathieu won the Prix Goncourt — France’s highest-profile literary award — for his 2018 novel “And Their Children After Them,” a working-class Bildungsroman set against a backdrop of severe deindustrialization, for which he stated his disparate influences to include John Steinbeck, Émile Zola, Bruce Springsteen and the 2012 Jeff Nichols film “Mud.” The Springsteen namecheck is easily taken care of in this brash big-screen adaptation, via a thuddingly obvious needle-drop as its bike-riding hero straps his hands across some engines and hits the open road. Mathieu’s more literary allusions, however, haven’t survived the journey to Ludovic and Zoran Boukherma‘s overlong, outwardly emotive but strangely unmoving film, which resorts to soap-opera mechanics in its saga of three youths variously affected over a six-year period by one rash act of teen delinquency.
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‘Three Friends’ Review: A Loosely Knotted French Braid of Not-So-Illicit Affairs
Guy Lodge Film Critic “Any couple in love should remember that love might not last,” says someone midway through “Three Friends,” shrugging off a rebuffed kiss with impressively unruffled Gallic poise. If everyone were so sanguine about such matters, most varieties of love story wouldn’t have reason to exist.
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‘Kill the Jockey’ Review: A Colourful Argentine Oddity That Refuses to Stay on Track
Guy Lodge Film Critic To be a jockey is to be both athlete and adjunct. While the horse gets the glory, its human partner is a literal hanger-on: ostensibly in control, but subject to animal impulses.
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‘Super Happy Forever’ Review: Nostalgia Can’t Mend a Broken Heart In a Gentle Japanese Charmer
Guy Lodge Film Critic Five years separate the two halves of “Super Happy Forever,” a delicate, unassuming but subtly complex love story in reverse that doesn’t dart between timelines, instead offering the past as a bittersweet chaser to the present. It’s a gap short enough for little to have changed at the sleepy Japanese beach resort where the film is set: Faces and places stay much the same, though melancholic protagonist Sano (Hiroki Sano) has perhaps too much faith in the time-bridging powers of a hotel’s lost-and-found desk.
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‘Apocalypse in the Tropics’ Review: Petra Costa Offers a Sobering Look at the Evangelical Age of Brazilian Politics
Guy Lodge Film Critic For opponents of former Brazilian president Jair Bolsonaro — which is to say, among other things, opponents of anti-Indigenous discrimination, deforestation, abortion bans, institutional homophobia and COVID denialism — his loss in the country’s 2022 general election was a relief, but hardly a new dawn. The presidency may once more be held by liberal veteran Luiz Inácio Lula da Silva (popularly known as just Lula) of the center-left Workers’ Party, but the demographic shifts and political machinations that enabled the recent far-right takeover still cast a long shadow on a nation beset with economic inequality and social unrest.
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Lithuanian Teen Drama ‘Toxic’ Wins Big at Locarno Film Festival
Guy Lodge Film Critic Lithuanian cinema, not typically that well represented on the international film festival circuit, was the big story of this year’s Locarno Film Festival awards ceremony, with two films from the Baltic nation taking a number of top prizes between them. “Toxic,” an auspicious debut from writer-director Saulė Bareiša, won not only the Golden Leopard for Best Film in the fest’s premier International Competition — from a jury chaired by Austrian auteur Jessica Hausner — but also, in an unusual double, the top prize in the separately juried First Feature Competition.
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‘Toxic’ Review: Unstinting Lithuanian Teen Drama Follows Catwalk Dreams In a Concrete Nightmare
Guy Lodge Film Critic The mean girls of your average Hollywood teen movie wouldn’t last a morning in the ruthless adolescent playground of “Toxic,” where economic exploitation and unforgiving body image standards rule the bullies and their prey alike. Set in an industrial Lithuanian town where even the asphalt has seen better days, Saulė Bliuvaitė‘s impressively tough-minded debut feature is uncompromising in its depiction of the punishment and self-abuse endured by girls enrolled at a fly-by-night modeling academy — where the vague promise of an escape to pretty much anywhere is enough to motivate frightening extremes of disordered eating and body modification.
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‘By the Stream’ Review: Hong Sangsoo’s Wry, Strangely Sweet Ode to Art, Love and Eel
Guy Lodge Film Critic “By the Stream,” the 32nd feature by Hong Sangsoo, opens as many of the previous 31 have, with a polite meeting between two softly acquainted people — neither strangers nor as familiar to each other as they might once have been. Tentative pleasantries are exchanged, before one says to the other, “You haven’t changed at all.” It’s a premature observation, of course: The ensuing action, such as it is, shows either how much has changed between the two, or how much they’ve forgotten along the way.
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‘Transamazonia’ Review: A Faith Healer Begins to Ask Questions In a Handsome Amazon Mood Piece
Guy Lodge Film Critic There’s a distant, otherworldly aura to Rebecca Byrne, the teenage protagonist of “Transamazonia,” that is quite befitting of someone who literally dropped from the sky. As a small girl, a plane she was on crashed in the remote depths of the Amazon basin, leaving her the only survivor of the tragedy.
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‘Sew Torn’ Review: A Stitch in Time Saves None in This Loopy Crime Comedy
Guy Lodge Film Critic Several alternate realities, none of them remotely acquainted with ours, exist side-by-side in “Sew Torn,” a high-concept crime farce that pits guns against haberdashery, innocence against culpability, and genre grit against fruit-loop fantasy. Even as it nakedly steals its structural conceit from Tom Tykwer’s Nineties trendsetter “Run Lola Run” — a film made before 24-year-old writer-director-editor Freddy Macdonald was born — this is a debut feature strange and singular enough to attract its own keen following, with its blend of folksy small-town hijinks, nasty neo-noir tension and literally crafty comedy, centered around a heroine who calls to mind MacGyver with a pocket sewing kit.
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‘Widow Clicquot’ Review: Haley Bennett Plays a Champagne Trailblazer In a Biopic More Still Than Sparkling
Guy Lodge Film Critic Amid the glut of corporate biopics we’ve had on our screens of late — “Air,” “BlackBerry,” “Flamin’ Hot” and so on — one for leading French champagne house Veuve Clicquot is more appealing than most. Champagne itself is sexier than a running shoe or a smartphone, for one thing, while the sinuous vineyards of 19th-century Reims are a more seductive setting for a brand-building story than a squat office block in Beaverton.
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‘A Sudden Glimpse to Deeper Things’ Review: A Great British Artist’s Legacy Is Unthawed and Reexamined
Guy Lodge Film Critic Not for the first time in his filmmaking career, Northern Irish documentarian Mark Cousins begins his latest work by presenting the audience with a banal image, and persuasively talking us into a reconsideration. The picture is an unremarkable vacation snapshot of British artist Wilhelmina Barns-Graham in her seventies or eighties, dressed for a day’s sightseeing in a sensible raincoat, not projecting any particular halo of artistic genius.
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‘Three Days of Fish’ Review: A Warm Breeze of Melancholy Runs Through This Dutch Father-Son Portrait
Guy Lodge Film Critic If Alexander Payne’s home discomforts weren’t Nebraskan but instead the soft climate and flat sidewalks of Rotterdam — if his name were Alexander Peijn, perhaps — his films might turn out a little like Peter Hoogendoorn‘s hangdog charmer “Three Days of Fish.” At once universally familiar and so quintessentially Dutch in flavor that it should come with a side of fritessaus, this story of a brief, fraught reunion between a distant father and his unmoored son is an intimate, closely examined character piece rooted in the director’s own family history — much like his debut “Between 10 and 12,” which premiered at Venice in 2014 but never found the international distribution it deserved. Bowing in competition at Karlovy Vary, this decade-later sophomore feature may be modestly built, but has enough emotional heft and wry humor to raise Hoogendoorn’s profile on the arthouse circuit.
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‘The Invasion’ Review: Sergei Loznitsa’s Raw but Restrained Reflection on Life During Wartime
Guy Lodge Film Critic The last time Ukrainian director Sergei Loznitsa made a documentary about contemporary events in his homeland was back in 2014: “Maidan,” a rigorously observational chronicle of the Euromaidan uprising in Kyiv, was both immediate and calmly detached. Eschewing overt narrative shaping or rhetoric for clear-eyed witnessing, it was thoroughly of-the-moment filmmaking that nonetheless felt built to last as a historical document.
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‘Loveable’ Review: A Norwegian Marital Drama That Keeps Our Sympathies in Flux
Guy Lodge Film Critic Wounded by the breakdown of her first marriage, a young mother of two meets a kind, handsome, charismatic new man and — after a protracted but ultimately successful romantic pursuit — learns to believe in love once more. This would be the complete arc of many a crowd-pleasing romcom or relationship drama.
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‘Julie Keeps Quiet’ Review: A Tight, Poised Belgian Debut About the Challenges of Holding It Together
Guy Lodge Film Critic For teenage tennis prodigy Julie, discipline isn’t merely a virtue but a survival strategy. Repressing adolescent urges and emotional swings has long been part of her routine at the high-level youth tennis academy where she’s currently the star student: Years of concentrating all her time and attention on her game — all work and all play, as it were — look likely to reward her with the pro career she dreams of.
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20 Best Movies New to Streaming in June: ‘Hit Man,’ ‘Origin,’ ‘I Am: Celine Dion’ and More
wrote Variety critic Guy Lodge. Check out this emotionally devastating movie before Mescal further blows up in this fall’s “Gladiator II.” Comedian Tig Notaro directs this coming-out story starring Dakota Johnson as Lucy, a woman who realizes she’s a lesbian after all her dates with men fail miserably. “Emotionally, she’s as awkward as a freshman with her first pimple.
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‘Elementary’ Review: French Docmaker Claire Simon Returns to the Schoolroom With Endearing Results
Guy Lodge Film Critic Like her fellow documentarian Frederick Wiseman, Claire Simon is drawn to institutions, and the human flow that keeps them running. Where many of Wiseman’s films favor a big picture, a systemic view, Simon often works in more intimate close-up, picking out faces and personalities from a larger institutional community.
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‘To Live, to Die, to Live Again’ Review: Gaël Morel’s ’90s-Set AIDS Drama Seems a Throwback Before Pointing to a Brighter Future
Guy Lodge Film Critic Nobody really makes AIDS dramas anymore, which seems as good a reason as any to make one now. The disease that, forty-odd years ago, decimated a generation of queer people and prompted a prejudice-driven global panic hasn’t gone away — least of all in various developing countries, where it isn’t popularly defined by gender or sexuality, and death rates are still high.
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‘Filmlovers!’ Review: Arnaud Desplechin Gets Back on Track With a Breezy but Thoughtful Ode to Cinephilia
Guy Lodge Film Critic No major film festival is complete without at least one Love Letter To Cinema™ from a filmmaker of some renown, to advocate the joys of the medium to an audience that doesn’t have to be told twice. French writer-director and Cannes regular Arnaud Desplechin brings that to the Croisette this year with “Filmlovers!,” a duly warm and nostalgia-washed cine-valentine, but one with a little more to say than just, “Movies, amirite?” Indeed, the film’s somewhat inelegant English-language title risks concealing the more specific focus of this unassuming but winning hybrid documentary: The French title, “Spectateurs!,” makes clear this is first and foremost a celebration of spectatorship rather than filmmaking, probing the dynamics of cinema audiences and their relationship to the screen.
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Chris McCauslanad had his Strictly Come Dancing co-stars in stitches in tonight’s results show as he declares “I can’t believe this is allowed on the tele” as he realises what Strictly pro Johannes Radebe is wearing.The stars were upstairs after learning they had made it through to the next week of the competition, which also happened to be the Halloween special, when the hilarious incident occurred. Johannes explained that Montell Douglas’ mum is like a second parent, and said they have a “special bond” after she won him over with a “plate of food”. As Claudia Winkleman turned to Chris, he retorted to the comment “if she’s like a proper mum, I can’t believe she didn’t say to you ‘you’re not going out dressed like that tonight”.
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