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1 month ago | 
a-rabbitsfoot.com | Kitty Grady
“Our innocent English lessons together were often tainted by the chokehold of incel language, undetected by their parents and most certainly unshakeable by their teachers.” The film critic and teacher Jannat Suleman reflects on Adolescence, the four-part Netflix series about a young boy who is arrested for the brutal murder of his female classmate.
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Dec 1, 2024 | 
a-rabbitsfoot.com | Kitty Grady |Lucy Davies |Chris Cotonou |Tobias Grey
Rungano Nyoni discsusses the origins and inspirations of her second feature, On Becoming a Guinea Fowl, which took home the prize for Best Film in the Un Certain Regard section at Cannes Film Festival earlier this year. “Film is about making things tangible, right? Like how do you deal with your past? Why do you stumble across it on a dark road?” The Zambian-Welsh director Rungano Nyoni is talking to me about the opening sequence of her second feature On Becoming a Guinea Fowl.
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Nov 11, 2024 | 
a-rabbitsfoot.com | Avanish CHANDRASEKARAN |Lucy Davies |Chris Cotonou |Kitty Grady
Filmmaker Asif Kapadia celebrated the vigour of the individual spirit in his critically acclaimed trilogy of biographical documentaries—Senna (2009), Amy (2015) and Diego Maradona (2019). His fear of an environment threatening the existence of such spirits is palpable in his latest film 2073, which premiered at this year’s Venice Film Festival.
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Oct 28, 2024 | 
a-rabbitsfoot.com | Kitty Grady
The signature tableau of a Hong Sang-soo film is a man and woman sitting together at a meal, often a lauded male film director and his younger female admirer or muse, drinking soju, makgeolli or wine (Hong and his actors are known to drink on set, and have admitted to the pleasures of working in this way). In this state between sobriety and drunkenness, there will be a kind of turn from a banal, awkward conversion to a raw, direct one.
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Sep 9, 2024 | 
a-rabbitsfoot.com | Kitty Grady
The 2024 Venice Film Festival felt as if it was about to erupt.
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Jul 16, 2024 | 
a-rabbitsfoot.com | Kitty Grady
In Marguerite Duras’ novel The Lover (1984), she begins by describing a photograph that doesn’t exist—an image of a young girl on a boat crossing the Mekong river she describes in detail, but she writes:“The image doesn’t exist. It was omitted. Forgotten. […] It’s to this, this failure to have been created that the image owes its virtue, the virtue of representing, of being the creator of, an absolute.”The image is defined by its absence.
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Jun 28, 2024 | 
a-rabbitsfoot.com | Kitty Grady
This Sunday, I’ll be discussing Michael Anderson’s The Quiller Memorandum (1966) with Michael Billington as part of the ‘Pinter on Screen’ series at Chiswick Cinema. Based on Adam Hall’s best selling spy novel, the screenplay was by Harold Pinter, my stepfather.
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May 22, 2024 | 
a-rabbitsfoot.com | Kitty Grady
Those familiar with Mikey Madison will know that the actress goes out in a blaze of glory. In Quentin Tarantino’s Once Upon a Time in Hollywood (2019), she’s a Charles Manson acolyte who gets mauled by a pitbull before she topples into a pool and meets her end by a flamethrower. She meets a similarly fiery end in the 2022 Scream sequel, when her face meets a burning stove.
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May 22, 2024 | 
a-rabbitsfoot.com | Kitty Grady
The opening of September Says replicates the famous shot of the twins from Stanley Kubrick’s The Shining. The directorial feature debut from actor Ariane Labed (The Lobster, The Souvenir: Part II)–September Says is a delightfully weird portrait of girlhood in which horror is humorous and humour is horrible. The film—an adaptation of Sisters, the 2020 novel by Daisy Johnson—tells the story of July (Mia Tharia) and her sister, September (Pascale Kann).
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May 17, 2024 | 
a-rabbitsfoot.com | Kitty Grady
Yorgos Lanthimos does not want a break. Only months after releasing his Fraken-fantasy Poor Things, which picked up a slew of Oscars including Best Actress and Best Costume for Holly Waddington, he’s premiering a new film at the Cannes Film Festival. Kinds of Kindness is a return to the bold, aggressive weirdness of Lanthimos’ earlier films.