Iana Murray

6 days ago | gq.com.mx | Iana Murray

Con motivo del estreno de la película F1, Javier Bardem nos cuenta sobre su participación en la cinta con Brad Pitt y acerca del alcance de su fama para poder hablar de los temas sociales y políticos que de verdad le importan. Silverstone, 2023. Durante un fin de semana de julio en el que Max Verstappen conseguirá una nueva victoria en su camino hacia un tercer Campeonato de Pilotos de la Fórmula 1, algo fuera de lo común acapara la atención en el Gran Premio de Gran Bretaña.

6 days ago | gq-magazine.co.uk | Iana Murray

Silverstone 2023. On a July weekend when Max Verstappen would secure yet another win on his way to a third Drivers’ Championship, something out of the ordinary is gathering attention at the British Grand Prix. Minutes before the start of the race, two black and gold cars from a fictional team called APXGP sit at the back of the grid.

2 weeks ago | theplaylist.net | Iana Murray

It doesn’t take long to realize that the title of Kelly Reichardt’s latest observation of life on the margins of America is laced with cutting irony. There are no grand geniuses in “The Mastermind,” only ordinary people living in a very ordinary world. So ordinary in fact, that a small, messy art robbery shakes the locals in Massachusetts out of their solemn reveries. So yes, “The Mastermind” is not about one, and this isn’t a heist film, but a clever, dreary, quiet deconstruction of one.

2 weeks ago | gq.com | Iana Murray

I’m not the first to say that the infamous standing ovations at the Cannes Film Festival are meaningless. This year’s lackluster iteration is no different: movies ranging from good (Spike Lee’s Highest 2 Lowest) to great (Die My Love, starring an excellent Jennifer Lawrence) to downright disappointing (ahem, Eddington and History of Sound) were all met with polite rounds of applause that landed in the five-minute range. At this point, those warm receptions are customary.

2 weeks ago | gq-magazine.co.uk | Iana Murray

I’m not the first to say that the infamous standing ovations at the Cannes Film Festival are meaningless. This year’s lacklustre iteration is no different: the movies have ranged from good (Spike Lee’s Highest 2 Lowest) to great (Die My Love starring an excellent Jennifer Lawrence) to downright disappointing (ahem, Eddington and History of Sound) — all were met with polite rounds of applause that land in the five minute range. At this point, those warm receptions are customary.