Got your social diary sorted yet? We're here to help – there are tons of great things to do in Bristol this week. Have a look through our round-up of all the best events and films that Bristol has to offer. You'll find theatre, art, music and more in our list, so have a look and plan a week's worth of things to do in Bristol.
Things to do in Bristol this week
Breton (1849-1923) worked at archaeological sites in Mexico making full-size colour copies of ancient Mexican ruins. Her copies of the wall paintings in temples and buildings in Chichen Itza, Teotihuacan and Acanceh are now the only full record of what was there in the 1900s and allow today's academics to interpret the images and the history they show.
A selection of landscape drawings from the world-class collection in the Royal Collection at Windsor Castle, including works by Van Dyck, Canaletto, Gainsborough and Claude Lorrain.
The Egyptian artist presents his latest work focusing on film which layers past, present and future, revealing social blueprints and ideologies that unfold across time.
Films showing this week
Masterfully addressing the American racial divide – past and present – director Raoul Peck’s six-years-in-the-making documentary, ‘I Am Not Your Negro’ thrums with a sense of history repeating itself. It’s inspired by 30 pages from the writer and intellectual James Baldwin’s unfinished final book, ‘Remember This House’. Before his death in 1987, Baldwin intended to tell the story of being black in America through the lives – and deaths – of three of his friends, Malcolm X, Martin Luther King and Medgar Evers. Peck does a magnificent job of honouring Baldwin’s concept in the film, counterposing images from the civil rights movement with clips from today’s protests and police beatings. Bringing a sense of gravitas to Baldwin’s words is Samuel L Jackson, whose non-furious narration is his finest performance to date – his almost resigned delivery deepening the emotional frustration. We do actually hear from Baldwin too, in some calmly defiant footage from a late ’60s talkshow, as he drags on a cigarette and speaks truth to power. ‘I Am Not Your Negro’ joins a handful of recent documentaries exploring the history and legacy of slavery, along with evolving ideas of African-American identity – notably Ava DuVernay’s prison exposé ‘13th’ and Ezra Edelman’s eight-hour ‘OJ: Made in America’. But there hasn’t been as concise, targeted and rigorous an examination of the problems of being smart, outspoken and black, until now.
The fourth instalment of George Miller’s punky post-apocalyptic ‘Mad Max’ saga feels like a tornado tearing through a tea party. In an age of weightless movie spectacles, here’s a movie that feels like it was made by kidnapping $150 million of studio money, fleeing with it to the Namibian desert, and sending footage back to Hollywood like the amputated body parts of a ransomed hostage.It’s been 30 years since we last watched Mel Gibson’s Max Rockatansky drift into the horizon in ‘Mad Max Beyond Thunderdome’, but the Road Warrior hasn’t aged a day. He’s been transformed from a reluctantly charismatic Gibson into a terse Tom Hardy. Yet much has changed in the wasteland that Max wanders. While previous episodes were set amid the rubble of a ruined world, the colourful hyper-saturated landscapes of this new movie locate the story closer to the dawn of a new civilization than the twilight of an old one. Things begin inside the mountain stronghold ruled by Immortan Joe (Hugh Keays-Byrne), an inbred monster who lords over a society that guzzles its citizens like fuel. Women are drained for their breast milk, girls are farmed for their wombs, and men like Max are used as vehicle ornaments called ‘bloodbags’. Unsurprisingly, Imperator Furiosa (Charlize Theron), Joe’s one-armed lieutenant, is ready for a change. When she drives off with his prized concubines, the warlord unleashes a suicidal eight-cylinder army on their trail. Pretty much the entire film is a screaming death race down
The late second century: the Roman army is fighting Germania, but that's a small problem for general Maximus (Crowe), compared to his relations with the Imperial dynasty. Ailing Marcus Aurelius (Harris) would like his favourite soldier and confidant to take over and pass power to the Senate. His heir, however - the insecure Commodus (Phoenix) - feels miffed by the slight. Having ensured dad dies in his arms, the new Emperor exerts his murderous authority. But Maximus won't swear loyalty, and after a narrow escape, the enslaved ex-general, bent on vengeance, gets a chance to return to Rome as a gladiator. Scott's sword and sandal spectacular is a bloody good yarn, packed with epic pomp and pageantry, dastardly plots, massed action and forthright, fundamental emotions. That said, for all the efforts to suggest authenticity, it stays true to peplum tradition, not only in its age old clichés, but in saying as much about our era as that in which it's set. The implausibly efficient carnage of the opening battle evokes post-'Nam war movies; Maximus' improbably swift, deep bonding with an African slave lends a whiff of PC historicity; Commodus's vices arise from poor parental care. Still, the cast is strong (notably Nielsen as Commodus's vacillating sister, and the late Oliver Reed, unusually endearing as a gladiator owner), the pacing lively, and the sets, swordplay and Scud catapults impressive.
The breakout star of 2014’s 'The Lego Movie' now gets his own action-packed, completely batshit superhero spinoff. The first Lego film was a real surprise: what could have been a lazy cash-in turned out to be sweet, funny and fiendishly original in the way it acknowledged and celebrated its own artificiality. And one of the film’s highlights was its take on Batman: a self-involved millionaire playboy who dresses in black body armour to fight crime and chase chicks. The inept egomaniac is a time-honoured comedy archetype – think Jack Sparrow, Daffy Duck or Donald Trump – but thanks to razor-sharp writing and Will Arnett’s snarling, impossible-to-hate vocal performance, this Batman felt fresh and fun. Happily, the same goes for his solo debut, a ferociously paced, wildly silly pastiche of those comic-book blockbusters we’re all getting a bit sick of. The plot may draw on another creaky comic cliché – Batman inadvertently adopts adorable orphan Robin (Michael Cera) and has no idea what to do with him – but ‘The Lego Batman Movie’ is so jam-packed with ideas, asides and barmy cameos (Lego Bane! Lego Marlon Brando! Lego gremlins!) that there’s barely time to notice. Some of it might go over kids’ heads – there’s a running gag about ‘Jerry Maguire’ that will bemuse anyone under 35 – but they will lap up the frenetic action and slapstick. Like its predecessor, ‘The Lego Batman Movie’ also manages to find an emotional centre among all this mayhem. Batman may be outwardly invincible
Decadence is both the subject and the style in ‘Oldboy’ director Park Chan-wook’s elegant, intensely romantic adaptation of Sarah Waters’s spicy bestseller ‘Fingersmith’. Shifting the action from Victorian England to pre-war Korea under Japanese rule, Park has created a film that delights in ornate furnishings, flowing gowns and sensuous sexual imagery, but reminds us that these things are just surface – the stuff that really matters is always kept hidden. Sook-hee (Kim Tae-ri) is a proper Dickensian orphan: raised by a Fagin-like madam on the streets of Seoul, she’s an experienced thief and con artist. So when smooth huckster Fujiwara (Ha Jung-woo) needs an eager young crook to impersonate a lady’s handmaiden as part of a scam he’s planning, Sook-hee steps up. Her mission: to encourage the innocent, unworldly Lady Hideko (Kim Min-hee) to disobey her cruel uncle Kouzuki (Jo Jin-woong) and run away with the dashing Fujiwara – bringing her fortune along with her, of course. And then Sook-hee starts falling in love… The cinematic equivalent of drinking three glasses of champagne in the bath, ‘The Handmaiden’ is a film to luxuriate in. Park has always been a visual master – even his infuriating American debut, 2013’s ‘Stoker’, had that going for it – but he’s outdone himself here. Waters’s labyrinthine plot is handled with the utmost care, and the characters – particularly the seemingly fragile Hideko – are beautifully sketched and performed. But it’s in probing beyond the pre
The young writer-director Damien Chazelle has followed his Oscar-winning drama 'Whiplash' with another entirely novel film steeped in the world of music. His soaring, romantic, extremely stylish and endlessly inventive 'La La Land' is that rare beast: a grown-up movie musical that's not kitschy, a joke or a Bollywood film. Instead, it's a swooning, beautifully crafted ode to the likes of Jacques Demy's 'The Umbrellas of Cherbourg' and Stanley Donen's 'Singin' in the Rain' that plays out in the semi-dream world of Los Angeles and manages to condense the ups and downs of romantic love into a very Tinseltown toe-tapping fable. 'La La Land' boasts stars to fall in love with: Ryan Gosling is Seb, a brooding pianist and jazz purist who dreams of running his own nightclub, while Emma Stone plays Mia, a more sunny studio-lot barista and aspiring actor who dreams of putting on her own plays. The film follows them from winter to fall and back to winter as they meet, argue, flirt, fall in love and face a growing conflict between their personal passions and romantic hopes. There are tender and imaginative moments to die for: Stone mouthing along to a cover version of 'I Ran' at a pool party; the pair watching their legs discover the power of tap while sitting on a bench; the two of them flying into the stars and waltzing while visiting Griffith Observatory - a moment inspired by a trip to see 'Rebel Without a Cause'. There are songs, there are dances (and Gosling and Stone prove easy n
Has JK Rowling been taking divination lessons at Hogwarts? With spooky clairvoyance, the first movie in her new five-film wizarding franchise opens with two factions in America at each other’s throats. No, not Republicans and Democrats. It’s 1926, and wizards and muggles (only in America they call them ‘no majs’) are on the brink of civil war. Oh, and in the non-magical world, a bully-boy heir to a fortune is wooing voters. Top of the class, JK! ‘Fantastic Beasts’ is basically a Harry Potter prequel (though you’ll get a detention for saying that). JK Rowling, writing her first film script, and longtime Harry Potter director David Yates have created an entirely new corner of the wizarding world. They strike a savvy balance between shiny new elements and recognisable ones for Potterheads. I’m not sure which is more adorable, Eddie Redmayne as eccentric magician Newt Scamander or the creatures he smuggles into the US in his battered and bottomless leather briefcase. Redmayne radiates a wet-eyed warm glow as stumbling, bashful Newt – an English wizard in New York. He’s perfect for Rowling’s world, where a kind heart is the most potent magical power of all. Like a hot young David Attenborough with a wand, Newt is a bit of an eco-warrior, arriving in the US on a conservation mission to release into the wild a creature he’s rescued from captivity. The cutest of his beasties is the naughty Niffler, a kleptomaniaccross between a platypus and a cuddly penguin, with its expressive sno
America lies on the brink of ruin in this bleak and bruising comic-book road movie. It’s 2029 and Logan aka James Howlett aka The Wolverine (Hugh Jackman) is working as a limo driver in El Paso, Texas, occasionally hopping over the Mexican border to deliver much-needed pharmaceuticals to his Alzheimer's-stricken former mentor Charles Xavier (Patrick Stewart). The mutant race has been all but wiped out thanks to a combination of shady government interference and Charles's own inability to control his powers. But when Logan is tasked with looking after Laura (Dafne Keen), the first mutant child born in decades, he's forced to make a decision: keep running, or gear up for one final stand. Jackman has repeatedly suggested that 'Logan' will mark his farewell to a character he's been tied to for 17 years and seven films. If so, it's a fitting swansong: in stark contrast to most Marvel movies, particularly last year's peppy but pointless 'X-Men: Apocalypse', this feels more like a wake than a party. The colours are muted, all rust-red and glowering grey, and the themes are weighty: loss, ageing and deep, almost unbearable regret. We're never given a full picture of how the world got so messed up, just glimpses of institutional brutality and corporate power, of ordinary people ground under the heel of an increasingly uncaring system. Given that the film went into production well before the earth-shaking events of November 2016, it all feels frighteningly prescient. It's also, with
After a decade-long absence, Mel Gibson returns to directing with a brutal war film that has a rousing tale of God-inspired heroism at its heart. 'Hacksaw Ridge' is the true story of Desmond Doss (Andrew Garfield), an army medic and decorated WWII soldier who was a conscientious objector, a position informed by his Christian faith. Doss refused to even touch a gun, and Gibson’s mission in retelling his story is clear and uncomplicated: He wants to honor Doss’s gentle determination to stick to his beliefs and to show how his faith was ultimately vindicated by his selflessness on the front lines of combat. 'Hacksaw Ridge' is not subtle, but it is brutally effective, and it contains some of the most justifiably violent battle scenes ever committed to film. Before we get there, it’s a more traditional movie. We watch as Doss dodges his violent, alcoholic war-veteran father (Hugo Weaving) at home in rural Virginia and meets his future wife Dorothy (Teresa Palmer), a nurse, in the film’s most corny scenes. It’s only when Doss joins the military, faces a possible court-martial and later heads to Japan that the contradiction of his being a soldier and refusing to touch a weapon properly kicks in and gives the film proper dramatic weight. There are strong scenes in the training camp, where Gibson and the script by Andrew Knight and Robert Schenkkan resist portraying Doss’s army colleagues as unsympathetic brutes. In turn, they also refuse to treat Doss as a misunderstood messiah. Wi
This charming animated family movie about a teenage Polynesian girl fighting to save her Pacific island’s future feels like business as usual for Disney in many ways. There’s a strong young female lead, catchy show tunes, lush landscapes and talking animals – a hermit crab with a fondness for trinkets almost steals the film and a dim chicken offers light relief. But this tale from the directors of ‘Aladdin’ and ‘The Little Mermaid’ also feels like progress. Moana (voiced by Auli’i Cravalho) is a young woman of colour set to take over from her father as the leader of an island community way back in the past (their beliefs are based around sea-travel and the island’s creation myth). When the plants on Moana’s island start to wither, the ocean chooses this 16-year-old to defy her father’s orders and set sail in search of a muscled demi-God Maui (Dwayne Johnson, self-mocking and funny), who can help her secure her people’s future. There’s not a prince or potential husband in sight; Moana’s future is entirely defined by her leadership and ability to fend off the mansplaining know-it-all Maui. As messages go, we’ll take them. The story is a fairly simple quest tale as Moana takes to the open water in uneasy cahoots with macho Maui. His animated tattoos are among the film’s visual highlights, alongside the azure waters lapping the sand. There are some belters on the soundtrack, a few of them courtesy of man-of-the-moment Lin-Manuel Miranda, the creator and star of the Broadway sma