In spite of acclaim for her celebrity biographies, the irascible Lee Israel is best known for her fraudulent writing of some 400 letters by dead writers and celebrities to help pay the rent on her New York dive.
Director Marielle Heller (The Diary of a Teenage Girl) explores the psychology of loneliness as an impoverished and out-of-fashion Israel finds solace in rudeness and alcohol.
As Lee, a nuanced Melissa McCarthy (Spy, Bridesmaids) is a revelation – all bitterness, vulnerability and caustic wit. The chemistry between her and Richard E Grant (Withnail & I, Logan), user, partner-in-crime and drinking buddy, is sublime joy.
In limited commercial release, Netflix’s Golden Lion winner at the 2018 Venice Film Festival, Roma, is a delectable (black and white) year in the life of a middle-class family in Mexico City in the early 1970s – with the focus firmly centred on the maid, newcomer Yalitza Aparicio.
Engagingly episodic, the restraint shown by writer/director Alfonso Cuaron (Gravity, Children of Men) results is an achingly beautiful film that unfolds in seemingly real-time. Roma is an evocation of nostalgia and time past – a memoire of (mostly) minor events as adults and children live their everyday.
Already in receipt of numerous awards and nominations for the Golden Globes, Roma is also likely to feature in numerous Oscar categories.
This year’s Best Foreign Language Film Oscar was presented to the more political Chilean feature A Fantastic Woman. But the same category at the Golden Globes was won by the more accessible German film, In the Fade.
The grief and pain is palpable in Diane Kruger’s (Inglorious Basterds, Farewell My Queen) mesmerising performance as a mother coming to terms with the murder of her Turkish husband and six year-old son. But the grief is replaced by anger as the courts look to dismiss the murder charges against a Neo-nazi couple.
Tension rides high as director Fateh Akin’s (Soul Kitchen, The Edge of Heaven) feature vacillates between social consciousness and old-fashioned justice. It may ultimately morph into something all a little too predictable, but the less-than-innocent Kruger’s award-winning performance (best actress, Cannes) more than carries the day.