A Bigger Splash
A Bowie-ish rock goddess (Tilda Swinton) and her devoted boyfriend (Matthias Schoenaerts) are on holiday when two uninvited guests turn up at their Italian villa: the rock star’s party-animal ex (Ralph Fiennes) and his sulky, seductive daughter (Dakota Johnson). Depending on how you look at it, the holiday is either well and truly over, or just getting underway. Inspired by Jacques Deray’s La Piscine (1969), Luca Guadagnino’s A Bigger Splash is an erotic drama which becomes an edgy thriller, but it’s always scenic, sun-baked, and hilarious: Fiennes’s wild dance moves are worth the ticket price.
Hail, Caesar!
Ethan and Joel Coen’s period comedy could well be 2016’s most sumptuous treat, an ice cream sundae of a film comprising the Coens’ favourite ingredients: a kidnapping (The Big Lebowski), the Golden Age of Hollywood (Barton Fink) and George Clooney being a buffoon (O Brother Where Art Thou?). Josh Brolin stars as a studio executive who steps in when Clooney’s matinee idol is spirited away from the set of an ancient Roman epic. The lip-smacking cast includes Scarlett Johansson as an Esther Williams-alike bathing beauty, Channing Tatum doing some Gene Kelly moves, and the stars of A Bigger Splash, Ralph Fiennes and Tilda Swinton.
The Witch
The Witch is 2016’s answer to It Follows: an independent horror film which had festival audiences raving about its cleverness and style as well as its nerve-jangling scariness. The winner of the Best First Feature Award at October’s London Film Festival, Robert Eggers’ directorial debut tells the relentlessly creepy tale of a Puritan family which is exiled from a New England settlement in the 1630s. Forced to build a homestead at the edge of an isolated forest, the family seems to be beset by black magic, but the parents’ own religious zeal is just as menacing. Eggers worked as a production designer before becoming a writer-director and, as outlandish as The Witch is, it looks as authentic as any big-budget period drama.
Julieta
Pedro Almodóvar’s last film was 2013’s toe-curlingly unfunny I’m So Excited, so it’s a relief to report that his new one – his twentieth – marks his return to ‘the cinema of women’. With any luck, we can expect a bruising, emotionally charged comedy-drama in the vein of Volver and All About My Mother. Almodóvar told the Financial Times that his original title was Silencio, because “that’s the principal element that drives the worst things that happen to the main female protagonist”, but he renamed it to avoid confusion with Martin Scorsese’s forthcoming Silence. Emma Suárez and Adriana Ugarte play older and younger incarnations of the same heroine.
High-Rise
Ben Wheatley’s surreal black comedy opens with a shot of Tom Hiddleston on his tower-block balcony, barbecuing a dog, and proceedings get more chaotic and disturbing from there. Adapted from JG Ballard’s 1975 satirical novel, High-Rise is set in a forbidding skyscraper which houses the chain-smoking poor on the lower storeys, the decadent rich on the upper ones, and the building’s lordly architect (Jeremy Irons) in the penthouse. Also featuring Sienna Miller, Luke Evans and Elisabeth Moss, it’s an unusually starry and expensive enterprise for Wheatley, who shot his first films (Down Terrace, Kill List) on a shoestring, but he’s still as anarchic as ever.
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