Michael Wood

Hirokazu​ kore-eda’s film The Truth, released in France in January and now available online, feels like a respectable weepie, a mother and daughter story, except that it keeps being hijacked. We quickly realise that the hijackers are the writer-director himself and film history, but we still have to decide what to make of it.

Of course, any film in which a famous actress (Catherine...

Historians​ are often suspicious of the notion of the counterfactual. It’s hard enough to establish what happens, they suggest, without having to worry about what might have happened. The facts are the facts, aren’t they? When we have agreed on what they are, of course. But then contemporary historians inherit a large legacy of hubris, the knowledge of ‘how it really...

Spike Lee’s​ Da 5 Bloods (on Netflix) is an extraordinary mixture: a swashbuckling pirate movie about buried gold and a shoot ’em up Western mysteriously transplanted to the East. But then where do the landmines come from? Oh yes, from the war film. Even with the lively incursions of other avatars, this is supposed to be one, or at least a film in which warriors visit an old...

Many​ new films have deferred release dates, and cinemas keep reminding us to watch at home the films they can’t show. ‘The olden days,’ Anthony Lane said in a recent, very funny New Yorker piece, ‘ended a few months ago.’ Those were the days when ‘humans went to the movies’. It’s also true that the olden days had long been invaded by other...

Yeats​ was a great admirer of Paul Valéry’s poem ‘Le Cimetière marin’ (‘The Graveyard by the Sea’), but only up to a point – the point where he thought that the poem’s main injunction was not about lingering among the tombs and talking to the dead, but about getting on with life, or trying to. ‘After certain poignant...