Cold War opens on a sequence of two musicians travelling around Poland in a beat up van, recoding the folk music of those who had just survived the horrors of World War Two. They sit under on porches and in bars and around breakfast tables, inviting those who have recently lost so much to perform. Pass on the music of times torn from them.
The problem you encounter casting Stanley Tucci in literally any role is that he’s too preternaturally charming. You have to work against the unstoppable force of nature that he represents for us to do anything but love him. The Children Act unfortunately, is nothing but blandly directed and has to struggle against Ian McEwan’s second script this year imperfectly adapted from his own novel.
Searching has got me thinking about how we interface with contemporary technology in the aesthetic properties of storytelling. Earlier this year we saw Soderbergh’s Unsane which used the burnt out visual quality of mobile phone footage to great effect in building up its unsettling and uncanny sense of place. This summer came Stephen Susco’s horror sequel Unfriended: Dark Web which built on the first-person, laptop-screen chills of the original by turning its eye upon how the monitor complicates the relationship between audience and participant.