“... Jonathan Glazer’s​ Zone of Interest seems stately at first, even stolid, and a bit too restrained to raise real questions. Once it’s over we realise that its discretion is part of a careful, risky plan. ‘Based on the novel by Martin Amis’, as a credit line says, the film converts a cruel virtuoso performance of literary voices into a sort of belated act of espionage ...”

“... Mathieu Kassovitz’s​ film La Haine, regarded as a classic in many circles, is currently being shown in UK cinemas to mark the thirtieth anniversary of its release. ‘Classic’ may not be quite the right word for this scary, messy film – it’s about forms of rage that don’t add up to hatred, or indeed to anything – but this may reflect a deficiency in the word rather than the film ...”

“... Luis Buñuel​ worked at the Museum of Modern Art in New York between 1939 and 1941. His job was to select documentary films to be sent to Latin America, but he also, more notoriously, edited Leni Riefenstahl’s Triumph of the Will (1935) with a view to turning its effect on its head. Heroic grandeur would become petty parading. The odds of success must have seemed good ...”

“... Judge ye,’ Ezra Pound says of a character in one of his poems, ‘Have I dug him up again?’ One answer is obviously yes. In ‘Sestina: Altaforte’, the old troubadour Bertran de Born – with his ‘whoreson dogs’ and ‘hell blot black’ – is as alive as any written character can be, and more alive than many of Pound’s actual contemporaries ...”

“... In​ a recent interview Sean Baker said he likes to resist purely ‘grey and drab’ moments in life or movies. ‘Even when I’m going through hard times, I still see colour.’ This is literally true of the palette of his films and especially of the scenes at Brighton Beach and Coney Island in his new movie, Anora, which won the Palme d’Or at Cannes this year ...”

“... Edward Berger​ ’s Conclave looks rather stately at first, a matter of grand buildings, Michelangelo murals and a simple question: the pope is dead; who will succeed him? But this impression doesn’t last long. Roman buildings start to whisper their histories, murals are spectacular but often threatening, and the question is not so much who as how ...”

“... The film opens,​ as the credits roll down the screen, with shots of present-day downtown Manhattan. The chief angle of vision is on the balcony of an expensive penthouse in Dumbo, as a part of Brooklyn is now called. The name recalls Walt Disney, of course, but like many New York neighbourhoods (SoHo, Tribeca) has a more literal or lettered source in the words ‘down under the Manhattan Bridge overpass ...”

“... What’s​ new? An old song begs our pardon for asking that. Guillermo del Toro’s new film, Frankenstein, is too busy to bother with such a query, but it’s aware of its own prehistory. It knows, for example, that if we ask AI how many films about Frankenstein there have been it will say it doesn’t know for sure, but there are more than four hundred ...”

“... not a mystery, because it doesn’t have a solution, only multiple, intimated causes. The plot of Michael Haneke’s Caché, on the other hand, is a mystery, because it has several solutions, all dull. The dullest is the one the director himself seems to prefer: there is no solution, and only unsophisticated viewers will worry about such things, instead of ...”

“... directly and by anagram to the authors of The Holy Blood and the Holy Grail: Richard Leigh and Michael Baigent, who recently sued Brown’s publisher for plagiarism and lost. The third author, Henry Lincoln, didn’t sue. The book itself is mentioned in large capitals, and Teabing comments on it pedantically (‘their fundamental premise is sound’). Of ...”

“... abnegation is too much to expect of any director with two expensive stars on his hands. Remember Michael Mann’s thriller Heat, where Robert de Niro and Al Pacino get together for a totally inconsequential conversation just so we can see them together before they return to their posts on opposite sides of the law. The stars have to share serious screen ...”

“... superiority, however, is not the end of the story. The fact that both androids are played by Michael Fassbender, one as a stiff, friendly American guy and the other as the imitation of Peter O’Toole he had already perfected in Prometheus, adds to the riddle. And here, as in so many science-fiction movies, the decision to have the character of a robot ...”

“... no world, just the set or the simulation where the conversations take place. When directors like Michael Mann, whose movie version of Miami Vice has just opened, say they want to make episodes of television series as if they were movies, they mean, among other things, that they want to create a world, a location which is a kind of character. This is as true ...”

“... 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 habits ...”

“... In​ Aeschylus’ Oresteia, and in the myth he was staging, the Furies that drove vengeance and justice are appeased, and converted into the so-called Kindly Ones. Pier Paolo Pasolini accepted this story as still current in Italy in the 1960s, but with an important variant. The transformation did not mean the Furies were any the less ‘irrational and archaic’, only that instead of haunting our dreams, ‘they reign over works of poetry, of affective imagination ...”