Tom Bateman stars in ITV's Vanity Fair Picture: Debra Hurford Brown

Interview: Tom Bateman

Rising star Tom Bateman talks to Janet Christie about the contemporary feel to his new ITV costume drama Vanity Fair, learning from the likes of Kenneth Branagh and why he keeps his private life private
Portrait by Debra Hurford Brown

Mark Cousins PIC: John Phillips/Getty Images

Film Interview: Mark Cousins on The Eyes of Orson Welles

It’s a rainy August morning in Edinburgh and inside a room at Summerhall, the former vet school turned arts and festival venue, Mark Cousins is pointing at a big abstract self-portrait of Orson Welles. “It’s a 4K blow-up of this one,” says Cousins, guiding me to a display case housing the original. The painting – part of the first ever exhibition of Welles’ rarely seen artwork – is more impressionistic in its smaller form. It shows him as an old man, Lear-like and reflective. “This is Orson Welles at his most self-aware,” Cousins says. “He dappled it with a toothbrush and see that eye there?” – he highlights its haunting blankness – “If you look over there, that’s it blown up massively.”

Tomasz Kot plays jazz musician Wiktor and Joanna Kulig is folk singer Zula, caught in an off-on affair that spans many years.

Film interview: director Pavel Pawlikowski on his international love story, Cold War

When Pawel Pawlikowski’s previous film, Ida, won the Oscar for best foreign language film back in 2015, the Warsaw-born, formerly British-based director jovially defied the orchestra’s attempt to play him offstage so he could pay tribute to his parents. “They’re not among the living,” he managed to sputter out, “but they’re totally inside this film.” He was speaking in abstract terms. The 1960s-set Ida about an orphaned nun who embarks on a road trip with her aunt after discovering she’s Jewish wasn’t actually about them. Yet in making his first film in his native Poland, he was consciously delving into the landscape of his childhood and he realised that their relationship hung over him in a big way.

Reacting to real drama didn't seem within Gob Squad's grasp

Theatre/Film review: Super Night Shot

THERE’S a strange tension built into Anglo-German theatre group Gob Squad’s long-running instant cinema project. Having taken to the streets of whichever city they’re mounting their production in an hour before screening the end results, the four-person team conclude the shoot by filming themselves re-entering the venue while the waiting audience cheer them on like conquering heroes. It guarantees their single-shot film – shown on four adjacent screens with a live sound mix (a concept borrowed from Mike Figgis’s Timecode) – has a triumphant final scene. Sadly, however, Super Night Shot’s first Scottish outing – which took three attempts to get working – wasn’t especially deserving of the preemptive whoops.

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