Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest installment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Mege: I love me a good horror movie, and if A24 makes another one, I am interested. Saint Maud seems to exist at the crossroads of Misery, Suspiria, Raw and Hereditary, with some of the retro style of Berberian Sound Studio thrown in. And Morfydd Clark has been in Pride and Prejudice and Zombies, so you better watch out
Julie: Time travel, espionage and evolution. That is all we know (for now) about Tenet, which is currently in post-production. How mysterious. But this trailer… This trailer is unreal. The line-up is incredible, it feels a little bit like Inception, meets an enhanced James Bond. Christopher Nolan’s films are events, in the best possible way. He has always been a unique voice in film, and if this trailer is anything to go by, Tenet will be one of the Inception or Dark Knight-type experiences. I, for one, welcome another adventure story from the great director. Though I admired Interstellar, this type of film is why I keep coming back to his movies. As “Time runs out”, I am looking forward to it: massively.
Matt: This looks so trashy… in the best possible way. Starting with the title, Beforeigners, you can tell that the makers of this series are entirely unapologetic about their pulp premise. Just check out the Wikipedia plot summary: “A woman with Stone Age tattoos is found dead on a beach, and a police investigator is put in charge of the investigation. He is assigned a newly graduated police investigator, formerly a shield-maiden in the 11th century, as his partner.” It’s difficult to do this kind of material well – you have to commit, yet with a lightness of touch and great craft – but at least the trailer has me intrigued.
Eric: We live in a universe which is, if not completely inexplicable, then at least mostly ineffable. The further we dive into our material reality, the further our grasp on what makes it work eludes us. Information is key. And yet, quantum mechanics tells us we may never have enough: the simple act of observation cements what may or may not be into what is – and all of Schrödinger’s cats scratch at the walls in response.
At its centre, life is a simple thing: the choices we make, to do and not do, to see and not see. And that simple thing, life, unspools in directions we cannot predict, precisely because we never know quite enough. Should we pity Javier Bardem’s character because his mind is fragmenting into alternate universes that he had not, until too late in his life, tried to see? Perhaps. Perhaps not. We know how the poem the movie takes its title from ends: and that makes all the difference.