Mohammed Diab is a revelation of a filmmaker, maturing into his art in almost ballet-like synchronicity with the revolutionary upheavals that have marked the last 7 years in his native Egypt.
My encounters with classical music through the ages (it feels like it, right!) have been a sort of muddle of awe and motor way-pile up.
In a recent interview in the Spanish press, Maysaloun Hamoud sighs with exasperation – “Why would anybody think the characters, who are out partying and having a good time, are trying to escape -just because they drink and take drugs”. She protests. “The protagonists are young, that’s life, life in Tel Aviv.”
Jodie Foster has been around a while, but unlike many (nay! the majority) of her artist predecessors, contemporaries and, indeed, imitators, Foster is both surrounded by and imbued with compelling enigma, whether it is through her private life (not so concerning for us), her choice of film as an actor, or the subject matter of her directorial material.