Knoxville y Steve-O regresan con Jackass Forever
⭑⭑⭑⭑✩ ¿Hay algo más tranquilizador que ver una película de Jackass? Eso podría ser algo extraño de decir dado lo ridículamente incómodo, por decirlo suavemente, que este grupo se ha estado poniendo durante las últimas dos décadas. Pero es reconfortante saber que cuando Johnny Knoxville, Steve-O y sus amigos se sometan a las acrobacias juveniles más peligrosas que puedan imaginar, se lo pasarán en grande.Jackass Forever ofrece exactamente eso, aunque esta franquicia es mucho más que un mosaico de travesuras locas y chistes. El veterano director de la franquicia, Jeff Tremaine, sabe exactamente cómo sacar lo mejor tanto de su elenco como de su camarógrafo para ofrecer escenarios a menudo meticulosos y siempre emocionantes. Ya sea tan simple como la clásica prueba de la taza (recibir un golpe en la entrepierna con un objeto de alta velocidad) o tan complicado como el ataque de un títere de pene kaiju (por mal que suene), los efectos prácticos y la cinematografía nunca se han visto tan cinemáticos. Una nueva guardia de bromistas se mantiene firme entre los old school, pero hay algo en el hastío del mundo de los dobles de riesgo que han sufrido durante mucho tiempo, Danger Ehren, Dave England y Preston Lacy, que hace que cada truco tonto en el que se dejan engañar sea mucho más divertido. Su miedo, ira, diversión y, finalmente, el alivio de sobrevivir para contar la historia, sin filtrar, brindan recompensas indefectiblemente entrañables a cada empresa loca, generalmente acompaña
Oscar Isaac protagoniza El contador de cartas
⭑⭑✩✩✩ Hay una escena en la nueva entrega de Paul Schrader sobre la psique masculina estadounidense, en la que el antihéroe epónimo de Oscar Isaac, William Tell, sienta a su joven protegido Cirk (Tye Sheridan) en su habitación de motel para hablar seriamente con él. El temor envuelve a la pareja ya que la ambigüedad de la intención de este astuto podría ser una amenaza para la enojada existencia de este niño o un empujón aún más en el camino de la venganza contra un contratista militar en el que está tan rígidamente enfocado. "Cualquier hombre puede inclinarse", le dice William siniestramente a Cirk. Está describiendo la forma en que tanto un jugador de cartas como un interrogador militar, funciones en las que tiene experiencia, pueden forzar cada vez más una mano, o una persona, sin lograr los resultados deseados.Es una de las pocas escenas llamativas e interesantes de El contador de cartas , y es un símbolo del amor de Schrader por los protagonistas masculinos listos para inclinarse a sí mismos, desde Travis Bickle de Taxi Driver hasta Ernst Toller de First Reformed. Esta cinta es un farol lento con pocas novedades que ofrecer. El guionista y director utiliza su tropo favorito de hombre solitario para explorar la resaca traumática de la guerra contra el terrorismo de Estados Unidos a través de los ojos de un jugador de poca monta. La voz en off y las entradas del diario de William, escritas con caligrafía experta en las habitaciones de un motel, se vuelven aún más anodinas
Céline Sciamma: 'You have to be fearless'
Céline Sciamma has made a name for herself in the coming-of-age genre, earning acclaim for her trilogy of films ‘Water Lilies’ (2007), ‘Tomboy’ (2011) and ‘Girlhood’ (2014). Now the French filmmaker enters adult territory with ‘Portrait of a Lady on Fire’, which tells the intimate story of lesbian love between a late-eighteenth-century painter (Noémie Merlant) and her aristocrat model (Adèle Haenel). Prepare to fall hard for this one. When did you first conceive this story? ‘It was after [2014’s] “Girlhood”. I wanted to devote a whole film to a love story. My films have mostly been about the rise of desire as the discovery of oneself. Now it was all about crafting this love dialogue around equality, and the sexiness of consent. I think this is timeless and it belongs to today.’ Why did you decide to set the film in the eighteenth century? ‘People who don’t like the film say: “Oh, it’s lacking conflict. We don’t see the problem of homosexuality enough.” I didn’t set it in the past to push the forbidden side of it because it’s still forbidden. I mean, it [homosexuality] is not super-welcome today. This movie is all about equality and how things can be surprising because there’s no gender, age or intellectual domination – and we’re not playing with social domination either.’ Céline Sciamma with Noémie Merlant and Adèle Haenel. Photograph: Featureflash Photo Agency Why did you cast Noémie Merlant and Adèle Haenel? ‘The film was designed with Adèle in mind as the model and so, in
5 up-and-coming London actors to watch in 2020
There’s no limit to the talent that London produces. We’ve seen actors like former Time Out guest editor John Boyega and Naomi Ackie become global superstars, bagging roles in the world’s biggest film franchises, while Phoebe Waller-Bridge is scooping up awards left, right and centre (congrats on the Golden Globe wins, Phoebe). As one generation of London-born actors flies the nest to become Hollywood regulars, a new crop of local talent prepares to take their place. From James Bond star Lashana Lynch to ‘His Dark Materials’ newcomer Amir Wilson, here are some of the fresh, promising London actors to watch out for on the big screen this year. RECOMMENDED: The best films of 2019
My Life in Movies: Naomie Harris
What was the first movie you saw at the cinema? ‘It was “The Wizard of Oz”. I can picture myself in the cinema with my family but can’t quite remember which one it was!’ What is your favourite cinema? ‘It used to be in Whiteleys in Bayswater, but it’s shut down now. You could have food and get the sofa beds for two. I would come with a little blanket and just kind of snuggle down to watch movies, but then you could just press a little switch and someone would come in and take your order. It was amazing.’ Where do you go now? ‘I love Everyman cinemas. Tickets are so expensive, you need a reason to pay instead of staying at home to watch TV. Super-comfortable seats and food and drink throughout is the dream.’ What was the last film that you loved? ‘I’ve missed a lot because I’ve been shooting but “The Favourite” was incredible. What a powerhouse movie with powerhouse women. The directing was really quirky and unexpected too.’ You’ve made a lot of movies in London. Which locations stick out in your mind? ‘I remember shooting “Spectre” next to Big Ben at night. We had the police blocking off the entire area. Only a Bond movie could shut down that part of London! I just thought what a privilege it was to be taking over my home town in this way.’ What is your favourite premiere memory? ‘It was the royal premiere for “Spectre” and it was the first time I was allowed to take a guest with me. I took my uncle, who has always been so incredibly kind to me. The thing is, they said that y
Syrian director Waad Al-Kateab: ‘My expectation was that I would be killed’
Waad Al-Kateab spent five years surviving in the Syrian warzone of Aleppo, with her doctor husband, to document the terror inflicted by President Bashar Al-Assad’s regime. During their struggle, she conceived a daughter called Sama, and her new doc shares the story of bringing her into the world as it was being torn apart. When did you realise this footage could be made into a documentary? ‘Not until I left [Aleppo], because my expectation was that I would be killed. I knew I had to film everything, so someone could take this footage one day and do something with it.’ How did you get the footage out?‘Not until I left [Aleppo], because my expectation was that I would be killed. I knew I had to film everything, so someone could take this footage one day and do something with it.’ What cameras were you using? I started with my Nokia mobile phone and ended with a Canon 70, which I still have and is on display in my living room.’ Why did you choose to centre yourself in this story? ‘The idea was for it to [have] me as an activist, as a mother, as a woman showing the female perspective of seeing the details around us. I’m more interested in showing women’s feelings because I know what they mean.’ Is it important that Syrians tell their own stories rather than them just being relayed by Western journalists?‘Yes, it is very important. It’s what Marie Colvin was doing. She was smuggled into Syria illegally, and unfortunately, she was killed there, but she was giving voice to people w
Nadine Labaki talks ‘Capernaum’: ‘Hollywood is ignorant of Arab culture’
Director Nadine Labaki has earned a growing following since debuting her 2007 film ‘Caramel’, thanks to her keen ability to present relatable social themes from an Arab perspective. With ‘Capernaum’, she focuses on the refugee crisis and a Lebanese boy (Zain Al Rafeea) who sues his parents for bringing him into the world. Prepare yourself for heartbreak. What makes you stand out as a filmmaker?‘I don’t care what is expected from me: neither as a woman nor as a filmmaker. I just do what my body needs to do and what my instinct tells me to do. No matter how good or bad the film is, I’m not talking about the quality of the film but the connection I have with people, with audiences. It’s a blessing.’ What was it about your young lead, Zain Al Rafeea, that made him right for the role? ‘I didn’t think we could find everything I was asking for in one child, but when I watched Zain in his casting interview I just knew it was him. It’s strange, four years ago I saw a child sleeping on the street and later that night I angrily drew the face of a child shouting at adults. When I compare that picture with Zain now, I see the same eyes, the same anger.’ Zain Al Rafeea (right) in ‘Capernaum’ The good and bad guys in ‘Capernaum’ aren’t clear-cut. What was the purpose of presenting a more silent villain? ‘The villain is the system, that’s why in the film you cannot judge. You have to be on this rollercoaster of contradictory emotions where you hate the parents and then love them.’ The film i
Listings and reviews (18)
Doctor Strange in the Multiverse of Madness
Doctor Strange and the Multiverse of Madness is a solid reminder of what we love about Sam Raimi’s brand of moviemaking: both superhero (Spider-Man 2) and horror (Evil Dead II). While Benedict Cumberbatch’s original solo outing, directed by Scott Derrickson, delivered a cerebral LSD trip with a sinister inflection, Raimi’s penchant for gore is executed to euphoric effect. His nose for those old Spidey themes of responsibility and power, meanwhile, manifest in the three suitably weighty central performances. Screenwriter Michael Waldron has to pick up from multiple story threads left over from multiple other Marvel shows and movies, but does a solid job in delivering a mostly self-contained adventure. The story sees Stephen Strange (Benedict Cumberbatch) and Wanda Maximoff (aka Scarlet Witch, aka Elizabeth Olsen) coming to terms with the magical choices they’ve already made: his, in saving the world through his actions in Avengers: Infinity War; hers, in the false reality she conjured out of her grief in WandaVision. Non-MCU devotees might get lost amid all these callbacks, but at its heart, this is a simple tale of whether the price of happiness is worth the moral cost. (And they probably won’t be sitting through a Doctor Strange sequel in the first place.) There’s a couple of McGuffins in the form of two magic books representing good and evil, and a lot of wacky interdimensional travel, as Strange tries to track them down to prevent his universe collapsing with his new kinda
Is there anything more reassuring than watching a Jackass film? That might be an odd thing to say given how ridiculously uncomfortable, to put it lightly, this motley crew has been making themselves for the past two decades. But it’s comforting to know that when Johnny Knoxville, Steve-O and pals put themselves through the most dangerous, juvenile stunts they could imagine, a hilarious time will be had. Jackass Forever offers exactly that, though this franchise is far more than just a patchwork of batshit crazy hijinks and dick jokes. Long-time franchise director Jeff Tremaine knows exactly how to get the best out of both his cast and camera people to deliver often meticulous, always rip-roaring set-pieces. Whether it’s as simple as the classic cup test (getting wellied in the crotch by a high velocity object) or as complicated as a kaiju penis puppet attack (as bad as it sounds), the practical effects and cinematography has never looked this cinematic. A new guard of pranksters holds its own amongst the OGs, but there’s something about the world-weariness of long-suffering stunt people Danger Ehren, Dave England, and Preston Lacy that makes every silly stunt they get suckered into that much funnier. Their unfiltered fear, anger, amusement, and, finally, relief at surviving to tell the tale provides unfailingly endearing payoffs to every mad enterprise – usually accompanied by one of Chris Pontius’s off-the-cuff zingers. This franchise is far more than just a patchwork of ba
The Electrical Life of Louis Wain
No stranger to playing characters working at a higher frequency, Benedict Cumberbatch is an astute pick to play prolific cat painter Louis Wain in this wonderfully off-kilter period biopic. Director Will Sharpe takes a witty and playful approach to Wain’s eccentric life as a 19th century artist known mostly for his anthropomorphised feline subjects. But this is also a tender story about mental health that is both imaginatively and empathetically portrayed. Cumberbatch delivers a vibrating performance as Wain, whose dexterous skill with a pencil has earned him a full-time gig as an illustrator at the Illustrated London News, with a little help from father-like editor Sir William Ingram (Toby Jones). His own dad’s death has left him in charge of a boisterous but cash-strapped household of five sisters and a mother. A love affair with governess Emily Richardson (Claire Foy) gives way tragedy, followed by success, and the artist’s increasingly surreal and psychedelic cat pictures begin to reflect his deteriorating sanity.It’s an effervescent movie, one that reflects the colourful whimsy of Wain’s work and a far more vivid image of Victorian and Edwardian England than your usual period film (kudos to Suzie Davies’s dynamic set design). A dry wit echoes throughout but The Electrical Life of Louis Wain is not without sincerity too. Cumberbatch and Foy both balance those two tones superbly and their dynamic is endearing to follow, especially when a filter of melancholy is added. Narr
The Card Counter
There’s a scene in Paul Schrader’s latest examination of the American male psyche, where Oscar Isaac’s eponymous antihero William Tell sits his young protégé Cirk (Tye Sheridan) in his motel room for a serious talking to. Dread envelopes the pair as the ambiguity of this card sharp’s intention could be a threat to this kid’s angry existence or a push even further down the path of revenge against a military contractor he’s so rigidly focused on. ‘Any man can tilt,’ William ominously tells Cirk. He’s describing the way both a card player and a military interrogator, roles he has expertise in, can increasingly force a hand, or person, without achieving the desired results. It’s one of The Card Counter’s few arresting and intriguing scenes, and is symbolic of Schrader’s love for leading men ready to tilt themselves – from Taxi Driver’s Travis Bickle to First Reformed’s Ernst Toller – but for all its moody moralising The Card Counter is a slowburn bluff with little new to offer. The writer-director wields his favourite lonely man trope to explore the traumatic hangover of America’s war on terror through the eyes of Isaac’s small-time gambler. William’s voiceover and diary entries, written with expert penmanship in motel rooms made even more nondescript by his compulsive habit of covering every bit of furniture with sheets, deliver gambling tips, tricks and context for how he learned card counting while serving eight years in military prison. His crimes involved torturing suspec
British writer-director Michael Pearce kept audiences guessing with his intriguing 2017 debut Beast and his follow-up is laced with just as much ambiguity. Co-written with Giri/Haji screenwriter Joe Barton and starring Riz Ahmed, Encounter incorporates elements of sci-fi creature feature lifted from the likes of Invasion of the Body Snatchers or The Faculty. Mostly, though, it functions as a character-driven, psychological journey. A seriously watchable one, too. It all centres on a dad with a mission to save his family from a worldwide parasitic invasion. A decorated Marine, who has served ten tours for his country, Malik Khan (Ahmed) is convinced that non-terrestrial micro-organisms have covertly arrived on Earth and are slowly infecting the populace. Malik kidnaps his two young sons, Jay and Bobby, from his estranged wife, who may or may not be infected. Pearce’s use of a muted colour scheme and restrained CGI help present the alien insects to subtle yet shuddering effect. As the three musketeers embark on a cross-country road trip to find the safety of a military base, tense obstacles and dangerous situations slow them down. Rarely does it lose its nervy pace, though, as new truths are revealed about Malik’s service history and mental state that puts everything into question. Ahmed is in his element as this anxious father who can switch between doting dad and petrifying patriarch with impressive ease. His trademark wide eyes often draw you into his humanity even when his
Matt Damon is back in Europe causing a ruckus – this time as an American dad trying to exonerate his estranged daughter for a murder she claims she didn’t commit. Stillwater certainly has the grounded, naturalistic look of a Jason Bourne movie but it is by no means an action-packed thriller. Instead, writer-director Tom McCarthy injects the meditative quality that elevated his journo procedural Spotlight into this sometimes thrilling family drama. Out-of-work Oklahoma labourer Bill (Damon) doesn’t speak French, have much money or a particular set of skills to investigate a tip that could see his girl Allison (Abigail Breslin) freed from a Marseilles prison. He does, however, have a lot of fatherly guilt to spur him on and support from new acquaintances: single mother and actress Virginine (Camille Cottin) and her young daughter Maya (Lilou Siauvaud). Bill’s pursuit for answers is intriguing as cultural differences present themselves in sometimes amusing, sometimes threatening ways: one minute he’s being asked if he voted for Trump; the next, he’s getting his ass handed to him by some youths. Damon’s chemistry with both Cottin and Siauvaud is charming to watch while his ‘stoical, simple man seeking atonement’ storyline is rather moving. You can’t help but root for the philistine; even at his most aggressive, there’s a tenderness at play. But this is a film of two halves: it starts off with some interesting ideas about family, duty and hardship, but
End of the Century
Argentinian director Lucio Castro's debut film is a beautifully pitched love story about the road not taken. Like ‘Sliding Doors’ with added subtlety and soul, this swooning love story spins the idea of ‘what if?’ into something deeply romantic. In his directorial debut, Argentinian filmmaker Lucio Castro takes a decidedly minimalist approach to the story of two apparent strangers who meet, hook up and soon realise that they have met before. Ocho (Juan Barberini) is a New York-based poet who has just arrived in Barcelona and rented an Airbnb. The apartment is as sparse as the dialogue during the film’s opening minutes, as we follow the fortysomething on a solo tour of the city. Then, from his balcony he spots a good-looking guy strolling by and calls him up to his room for some seemingly throwaway sex. As the two men bond over cheese and wine, we learn that the stranger is Javi (Ramon Pujol), a kids’ TV director. And he isn’t a stranger, either – the pair had a meaningful encounter 20 years earlier, when they were both in heterosexual relationships. As the film flashes back in time, we see how different Ocho and Javi’s hopes and dreams were back then. These transitions back and forth in time are seamless and intimate. A beautifully crafted love story, ‘End of the Century’ has two understated, thoughtful performances at its heart. It explores its existential themes – of the passing of time and of roads not taken – with delicacy and deftness. It’s a road worth travelling.
Hitsville: The Making of Motown
There are plenty of documentaries that delve into the history of Motown, but ‘Hitsville’ is the first to have the blessing and involvement of founder Berry Gordy. Matching the feel-good spirit of the songs the Detroit label produced, it takes a toe-tapping look down memory lane to show just how Gordy and co-founder Smokey Robinson defined a genre. Starting from the top, directors Gabe and Benjamin Turner weave in archive footage, recordings and images with Gordy and Robinson’s exclusive interviews, which discuss the mechanics of a business inspired by the Gordy’s time working on a car assembly line. From Marvin Gaye and The Supremes to Stevie Wonder and Martha Reeves, this documentary shows how Motown crafted singers into stars before ‘Pop Idol’ and ‘The X Factor’ came along. There are plenty of fun anecdotes too: Neil Young describing his dancing lessons; how Reeves got to sing ‘Dancing in the Streets’ because of a union dispute and Wonder on coming up with ‘Fingertips Part II’ live on stage are particularly enjoyable to hear. Sadly, juicy behind-the-scenes gossip – like Gordy’s romance with Diana Ross and the legal disputes with writing trio Holland-Dozier-Holland – is glossed over or omitted completely. It makes the film far more clean-cut than Motown’s origins ever were. Still, if you’re a sucker for the hits of the ’60s and ’70s, this is a nostalgic temptation you won’t want to miss.
From Jacob Tremblay (‘Room’) to Quvenzhané Wallis (‘Beasts of the Southern Wild’), there are plenty of child actors who pack an emotional punch on screen. But ‘System Crasher’ star Helena Zengel tops the lot. The young German actor plays Benni, a foster kid with anger issues desperate to return home to her mum. She’s a victim of child abuse but none of the measures taken by doctors, social workers or teachers are working to temper this raging, nine-year-old ‘system crasher’: everything is a trigger for her foul mouth and aggression. When Benni is assigned a new school escort, there’s hope that his guiding influence will improve her behaviour, but with her absentee mother and violent mood swings, disappointment feels inevitable. German filmmaker Nora Fingscheidt shows a documentarian’s forensic eye in her first narrative feature. The harsh realities of the welfare system are never window-dressed. The camera charts Benni’s every move, capturing each flicker of conflict on her face as she searches for unconditional love. Zengel is a revelation in the role. ‘System Crasher’ may veer towards being over-sympathetic in its approach to its violently problematic protagonist – Benni is a wrecking ball at times – but it delivers a powerful exposé of the limitations of the foster system. And with its impressive young star to the fore, it is heartbreakingly intimate.
Acid attacks have been on the rise in the UK over the last few years and ‘Dirty God’ might be the first feature film to look at the aftermath of such a horrific crime. Dutch filmmaker Sacha Polak makes her English-language debut with this subtle but hard-hitting portrait of a young woman striving to find her identity after it has been violently stripped away from her.Jade (Vicky Knight) is a young single mum adjusting back to life on her Hackney council estate after spending months in hospital recovering from an attack carried out by her ex. Everywhere she turns there are often hostile reminders that she is not the vivacious young woman she once was, whether it’s her daughter recoiling tearfully at the sight of her disfigured face or the taunts of strangers. As she struggles to find ways to feel like herself again, through online sexual encounters and making plans to have plastic surgery abroad, she begins to accept the reality of this new life and not let old expectations hold her back.Polak follows in the footsteps of directors Andrea Arnold (‘Fish Tank’) and Benh Zeitlin (‘Beasts of the Southern Wild’) by drawing out a brilliantly nuanced performance from first-time-actor Knight, a burn victim herself. Knight has mined her own traumatic experience to bring emotional depth to the character, and this extra layer of authenticity gives the film its impact. If the other characters pale slightly by comparison, ‘Dirty God’ is still a grounded story of human resilience that can’t
An elephant sitting still
No hay ningún endulzamiento en las casi cuatro horas de metraje de la película, más bien un frío gris que rodea la desolación de cuatro personajes. Sus historias se entrelazan a lo largo de un día en una pequeña ciudad sin nombre en el norte de China, donde se puede sentir la depresión económica en todo momento. Wei Bu, maltratado por su padre, intenta escapar después de haber herido al abusananos que lo acosa en clase. Su compañero, Huang Ling, vive con una madre alcohólica que tiene una relación turbia. También está el delincuente Yu Cheng, que presencia el suicidio de su amigo, y el jubilado Wang Jin, que se ve encerrado en una residencia para lo que le queda de vida. Solo el dolor, la muerte o la miseria parecen romper la rutina de sus vidas. Con travellings, primeros planos y diálogos mínimos, el director Hu Bo pinta un retrato desolador, reforzado por interpretaciones sutiles y matizadas. A veces, la lentitud provoca el tedio, pero cuando sabes que el director se suicidó justo después de completar la película, verla tal como él pretendía te acaba por conmover, y vale la pena.
Minding the Gap
Skate culture seems to be kick-flipping its way back on to our cinema screens, via coming-of-age stories by Crystal Moselle (‘Skate Kitchen’) and, soon, Jonah Hill’s ‘Mid90s’. Perhaps surprisingly, it’s taken this doc – by debut director Bing Liu – to bring real vulnerability to a mini-genre that’s often characterised more by its devil-may-care bravado and slangy edge. Liu returns to his hometown of Rockford, 90 miles outside Chicago, to reconnect with old skate buddies Keire Johnson and Zack Mulligan. At first, he seems to take a breezy approach as we follow the trials and tribulations that come with his pals’ journey into adulthood. We keenly observe the trio skate, party, skate, work, skate, and party some more. Slowly, unease creeps into their happy-go-lucky attitudes. Keire is washing dishes at a local restaurant, while Zack is a roofer with a baby on the way with his younger girlfriend Nina. Neither seems satisfied. As Liu probes deeper and self-critically, we learn that skating isn’t the only thing that connects them, but domestic violence too. The way that each has experienced it has shaped who they are today, for better or worse. Featuring some brilliant camerawork by Liu and the late Dylan Sakiyama, ‘Minding the Gap’ is an impressive feature that provides an intimate and grounded examination of racism, violence, manhood and economic anxiety in the US. It will warm your heart but possibly break it a little too.
Six things to know about LEAFF
It’s not a gardening festival LEAFF stands for London East Asian Film Festival. It’s 11 days of movies from China, Japan, South Korea and all across the eastern bits of Asia (don’t come for Hindi cinema, basically). It’s not just screenings: filmmakers and stars will be in town for talks and Q&As at venues across London. There are 60 movies to pick from Check out Hing Fan Wong’s directorial debut ‘I’m Livin’ It’, Japanese con-artist docudrama ‘Erica 38’ and Thai thriller ‘The Pool’, which may make you give up swimming forever. Korean cinema is having a birthday bash (and everyone’s invited) It’s the 100th anniversary of Korean cinema and LEAFF is cracking open the soju to celebrate. There’ll be old favourites and new films screening, including hit family comedy ‘Inseparable Bros’ and coming-of-age drama ‘The House of Hummingbird’. Korean artists are also showcasing works at Tate Modern. It runs over Halloween, so expect scares ‘The Ring’ isn’t screening (you can put down your security blanket), but there are still plenty of jumps on offer. Hideo Nakata’s new J-horror ‘The Woman Who Keeps a Murderer’ screens on October 31. Keep an eye out for ‘Under Your Bed’ and ‘The Culprit’ too. Samurai fans are in luck There are Sunday screenings of samurai classics at Deptford Cinema during the festival, including ‘Sword of Doom’ and ‘Harakiri’. Look out for a double bill of Takashi Miike’s preposterously violent ‘13 Assassins’ and Kenji Misumi’s ‘Lone Wolf and Cub’ after the fest. It’s c