State Funeral is available on Mubi and in UK cinemas from 21Â May.
The ongoing project of the prolific Ukrainian filmmaker Sergei Loznitsaâs nonfiction work, continued in State Funeral, might be described as one of bearing witness to people bearing witness to history â observing the manner in which individuals strive to find the âappropriateâ response to the import of a historical moment, and in the process making a viewer aware of the limitations of what can be understood of peopleâs interior lives through the cameraâs scrutiny. In 2016âs Austerlitz, the subjects are tourists filing through Nazi death camps; in 2018âs Victory Day, itâs visitors, mostly from the former USSR, to the Soviet War Memorial in Treptower Park near Berlin, commemorating the anniversary of the unconditional surrender of the city to Soviet occupiers.Â
The films that accidentally predicted the pandemic
bfi.org.uk - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from bfi.org.uk Daily Mail and Mail on Sunday newspapers.
Matthew Barney on Redoubt at the Hayward Gallery
bfi.org.uk - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from bfi.org.uk Daily Mail and Mail on Sunday newspapers.
The Underground Railroad (10 episodes) is on Amazon Prime from 14 May.
Following his work with Damien Chazelle (on Whiplash, 2014), Steve McQueen (on 12 Years a Slave, 2013), Adam McKay (on The Big Short, 2015; Vice, 2018; and Succession, 2018-), and especially Barry Jenkins, for whom he scored Moonlight (2016), If Beale Street Could Talk (2018) and now The Underground Railroad, 40-year-old Nicholas Britell has become one of the most sought-after contemporary film composers.
Britell’s collaborations with Jenkins have been especially close, with the two typically spending long hours together in the studio. On The Underground Railroad, that intimate process was initially disrupted by the pandemic, with Britell on the East Coast and Jenkins in Los Angeles, before Britell flew out and lived in a ‘production bubble’ with Jenkins and the crew.