Gambling away your credit

Villains are interesting because we cannot believe what they are prepared to do and then get away with their crimes while we keeping looking on, appalled, but also slightly amazed. With unsympathetic characters, it’s slightly different. My guess is that we are caught in the dilemma of not condoning their actions or beliefs, but somehow understanding them. We wouldn’t act their way because we are not them, but if we were, maybe we would make the same choices. The main character in Pablo LarraĆ­n’s Ema (2019) makes no effort to win our sympathies, but we get why she does what she does. To a lesser extent, we might also understand Francis’ decisions in Burhan Qurbani’s Berlin Alexanderplatz (2020), but chances are that we will never have to risk our lives crossing the Mediterranean, or deal with the violent antics of an adopted child.

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I’ll be in my trailer… watching trailers: Mapping and plotting, scaring and dancing

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.

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