Anwen Crawford
Anwen Crawford is the author of No Document (Giramondo, 2021), shortlisted for the 2022 Stella Prize, and Live Through This (Bloomsbury, 2015). Her work has appeared in publications including The Monthly, The New Yorker, The White Review and Sydney Review of Books, and in 2021 she won the Pascall Prize for Arts Criticism. She is a long-time zine maker and collaborative visual artist. She lives in Sydney.
Too often the suburbia on show in American movies feels like a suburbia that only exists in the movies; a fantasy land stocked with preposterously large, catalogue-neat houses populated by families that boast perfect complexions and expensive teeth. Not so in Lady Bird, set in Sacramento, California, where the glitz of Los Angeles and the fashionability of San Francisco feel very far away. Christi ... (read more)
One can pinpoint the moment at which The Killing of a Sacred Deer gets stuck, like a train between stations. It happens midway through the film, during a scene set in a hospital cafeteria, somewhere in Cincinnati. A greying, bearded cardiologist (Colin Farrell) sits opposite a teenage boy (Barry Keoghan) whose gormless, sweaty countenance conveys an undertone of menace. The boy, whose name is Mart ... (read more)
It’s springtime in Yorkshire, but you’d only know it by the lambs. The earth is stony and the wind is biting. Even the wildflowers struggle to bloom, let alone the romance that forms the central plot of God’s Own Country, an accomplished début feature from British writer–director Francis Lee, who was raised, like his film’s protagonist, on a farm in the Pennine Hills.
Johnny Saxby (Jos ... (read more)
An account of the life of Emily Dickinson can, like that of a saint, be reduced to its elements of spiritual and physical suffering. She was acutely sensitive, frequently ill, and when she died she left behind thousands of unpublished poems. It would be easy to portray her as a heavenly creature, temporarily descended upon nineteenth-century Amherst, Massachusetts from a more empyreal realm. Immor ... (read more)
Nathalie Chazeaux (Isabelle Huppert) is a married professor of philosophy, with two adult children, a sunny, book-lined Parisian apartment, and several published works to her name. Success has granted her self-assurance, at least in public. Early in Things to Come (or L’Avenir, to give the film’s French title), we watch her cross a student picket line without compunction, the arguments of the ... (read more)
Australian director Cate Shortland has made three feature films about young women who find themselves out of their depths. Her first, Somersault (2004), set in wintry Jindabyne, featured Abbie Cornish in an early and memorable role as a troubled teenage runaway. Lore (2012) was adapted from Rachel Seiffert’s Booker-shortlisted novel The Dark Room; its titular character, the daughter of Nazis, mu ... (read more)
A man steers a fishing vessel through grey-blue seas off the coast of wintry Massachusetts, while another man chats with a young boy in a life jacket. The camera keeps its distance, the three figures aboard the boat framed by a wide horizon, but we soon perceive that the boy is son to the man at the boat’s helm, and nephew to the other man. ‘If you could take one guy to an island with you,’ ... (read more)
In London, 1947, a young white English woman named Ruth Williams (Rosamund Pike), of modest background, meets an ordinary-seeming young black man named Seretse Khama (David Oyelowo) at a dance. They go on a few dates, swap jazz records, and then, in short order, the young man reveals to the young woman that he is an African king and proposes marriage to her. She accepts him immediately.
This is t ... (read more)
In March of 1966, Los Angeles rock group The Byrds released their sixth single, a song called 'Eight Miles High'. It was, writes Jon Savage, a song that combined 'two staples of sixties minority taste: free jazz and Indian classical music'. The arrangement was spacious, but the mood was uneasy: a twelve-string guitar part evoked the sour, droning tone of a sitar. The lyrics, chiefly written by ban ... (read more)