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| The Guardian - Culture: Film | | | | 'I squeamishly refuse to rewatch': Guardian writers on their scariest movie endings | | by Jesse Hassenger, Andrew Lawrence, Charles Bramesco, Benjamin Lee, Lauren Mechling, Lisa Wong Macabasco, Guy Lodge, Veronica Esposito, Adrian Horton, Andrew Pulver, Luke Buckmaster and Radheya Oct 31, 2022 | | From the final moments of Don’t Look Now to Midsommar to Men, critics pick the endnotes that caused the biggest nightmares Major spoilers ahead Has more than two decades of found-footage horror further blunted the impact of The Blair Witch Project, which plenty of folks were already shrugging off as boring and unscary back in 1999? Maybe, but not for me. I can’t claim that I saw Blair Witch early enough to mistake its convincing faux-documentary setup for reality, but I did manage to catch it before it reached a wide enough audience to inspire countless jokes and spoofs (I can only imagine the cheesy memes we’d have to endure if it came out today), and it’s stuck with me ever since; I need only to think of its final shot, and I shiver. Continue reading... | | | | | Neptune Frost review – exhilarating Afrofuturist musical battles exploitation | | by Phil Hoad Oct 31, 2022 | | Transgressive revolutionaries in a dazzlingly inventive drama from Anisia Uzeyman and musician Saul Williams, set in an alternate Burundi Black Panther 2 is imminent, but in many ways the extraordinary Neptune Frost is the real Afrofuturist deal: a transgressive socialist Wakanda with an exoskeleton of punk geopolitics bolted on. As well as a denunciation of the western techno-centric order, it’s a musical lesson in conscious collaboration between the developed and developing world that Hollywood could learn from – instead of just piggybacking on African aesthetics. Filmed in Rwanda but set in Burundi, the story was developed by US musician Saul Williams – drawing on material from his recent albums – and his Rwandan wife Anisia Uzeyman; they share the directorial credit. A near-future alt.Burundi gets its own Ziggy Stardust: Neptune (Elvis Ngabo), a gaunt outcast who likes wearing high heels and wanders the countryside in search of “fourth dimensional libations”. Shepherded by a priestess praying to the “Motherboard”, he transitions to become an elegant, red-gowned woman (Cheryl Isheja), who then hooks up with fugitive coltan miner Matalusa (Bertrand Ninteretse, AKA Burundian rapper Kaya Free), head of the hackers’ village collective of Digitaria. Their band of revolutionaries is facing off against the Authority, an oppressive regime who enforce the mineral and bodily exploitation of the locals. Continue reading... | | | | | |
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