Sam Mendes’ 1917 is undoubtedly an technically excellent film but the focus on format ends up detracting from the depth of the storytelling
“You’ll be wanking again in no time!
There’s no doubting the technical audacity of Sam Mendes’ 1917. With its ostensibly one-shot, real-time structure (with necessary caveats that it is neither), it is a bravura piece of film-making that elevates this movie from just your average Oscar-baity war flick (cf Dunkirk).
It is clearly a labour of love for Mendes, who directed, co-wrote (with Krysty Wilson-Cairns) and produced 1917, and whose grandfather’s own war experiences inspired the film. And its driving force, following 2 British soldiers tasked with delivering a vital message beyond enemy lines. Continue reading “Film Review: 1917 (2019)”
My White Best Friend (and even more letters left unsaid) sees the Bunker Theatre start the process of going out in a blaze of glory
“It’s all we can do to listen”
There’s a couple of months before the Bunker Theatre closes its doors but it does seem a rather wonderful f*** you to bring back their inordinately successful mini-festival and sell out every night before the run even started. Developers may gain from taking over this space but as evidenced here in this kind of forward-thinking, thought-provoking production, London’s theatre ecology stands to lose a lot.
Co-curated by Rachel De-Lahay and Milli Bhatia (who also directs), My White Best Friend (and even more letters left unsaid) is a raucous piece of gig theatre, centred on a provocation to a range of cracking writers to write letters “that say the unsaid to the people that matter most”. Those letters are then read to a standing audience, sight unseen by different actors every night. And there’s a DJ-led afterparty too, even on a Monday night! Continue reading “Review: My White Best Friend, Bunker Theatre”