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'\e700'; } .gelicon--google::before { content: '\e701'; } .gelicon--spotify::before { content: '\e304'; } .gelicon--pinterest::before { content: '\e305'; } .gelicon--tumblr::before { content: '\e306'; } .gelicon--stumbleupon::before { content: '\e307'; } .gelicon--linkedin::before { content: '\e308'; } .gelicon--reddit::before { content: '\e309'; } .gelicon--digg::before { content: '\e30a'; } .gelicon--instagram::before { content: '\e30b'; } .gelicon--whatsapp::before { content: '\e600'; } .mapboxgl-map { font: 12px/20px Helvetica Neue,Arial,Helvetica,sans-serif; overflow: hidden; position: relative; -webkit-tap-highlight-color: rgba(0, 0, 0, 0); } .mapboxgl-canvas { position: absolute; left: 0; top: 0; } .mapboxgl-map:-webkit-full-screen { width: 100%; height: 100%; } .mapboxgl-canary { background-color: salmon; } .mapboxgl-canvas-container.mapboxgl-interactive, .mapboxgl-ctrl-group button.mapboxgl-ctrl-compass { cursor: -webkit-grab; cursor: grab; -moz-user-select: none; -webkit-user-select: none; -ms-user-select: none; user-select: none; } .mapboxgl-canvas-container.mapboxgl-interactive.mapboxgl-track-pointer { cursor: pointer; } .mapboxgl-canvas-container.mapboxgl-interactive:active, .mapboxgl-ctrl-group button.mapboxgl-ctrl-compass:active { cursor: -webkit-grabbing; cursor: grabbing; } .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate, .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate .mapboxgl-canvas { -ms-touch-action: pan-x pan-y; touch-action: pan-x pan-y; } .mapboxgl-canvas-container.mapboxgl-touch-drag-pan, .mapboxgl-canvas-container.mapboxgl-touch-drag-pan .mapboxgl-canvas { -ms-touch-action: pinch-zoom; touch-action: pinch-zoom; } .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate.mapboxgl-touch-drag-pan, .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate.mapboxgl-touch-drag-pan .mapboxgl-canvas { -ms-touch-action: none; touch-action: none; } .mapboxgl-ctrl-bottom-left, .mapboxgl-ctrl-bottom-right, .mapboxgl-ctrl-top-left, .mapboxgl-ctrl-top-right { position: absolute; pointer-events: none; z-index: 2; } .mapboxgl-ctrl-top-left { top: 0; left: 0; } .mapboxgl-ctrl-top-right { top: 0; right: 0; } .mapboxgl-ctrl-bottom-left { bottom: 0; left: 0; } .mapboxgl-ctrl-bottom-right { right: 0; bottom: 0; } .mapboxgl-ctrl { clear: both; pointer-events: auto; -webkit-transform: translate(0); transform: translate(0); } .mapboxgl-ctrl-top-left .mapboxgl-ctrl { margin: 10px 0 0 10px; float: left; } .mapboxgl-ctrl-top-right .mapboxgl-ctrl { margin: 10px 10px 0 0; float: right; } .mapboxgl-ctrl-bottom-left .mapboxgl-ctrl { margin: 0 0 10px 10px; float: left; } .mapboxgl-ctrl-bottom-right .mapboxgl-ctrl { margin: 0 10px 10px 0; float: right; } .mapboxgl-ctrl-group { border-radius: 4px; background: #fff; } .mapboxgl-ctrl-group:not(:empty) { -webkit-box-shadow: 0 0 2px rgba(0, 0, 0, 0.1); box-shadow: 0 0 0 2px rgba(0, 0, 0, 0.1); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl-group:not(:empty) { -webkit-box-shadow: 0 0 0 2px ButtonText; box-shadow: 0 0 0 2px ButtonText; } } .mapboxgl-ctrl-group button { width: 29px; height: 29px; display: block; padding: 0; outline: none; border: 0; -webkit-box-sizing: border-box; box-sizing: border-box; background-color: transparent; cursor: pointer; } .mapboxgl-ctrl-group button + button { border-top: 1px solid #ddd; } .mapboxgl-ctrl button .mapboxgl-ctrl-icon { display: block; width: 100%; height: 100%; background-repeat: no-repeat; background-position: 50%; } @media (-ms-high-contrast: active) { .mapboxgl-ctrl-icon { background-color: transparent; } .mapboxgl-ctrl-group button + button { border-top: 1px solid ButtonText; } } .mapboxgl-ctrl button::-moz-focus-inner { border: 0; padding: 0; } .mapboxgl-ctrl-group button:focus { -webkit-box-shadow: 0 0 2px 2px #0096ff; box-shadow: 0 0 2px 2px #0096ff; } .mapboxgl-ctrl button:disabled { cursor: not-allowed; } .mapboxgl-ctrl button:disabled .mapboxgl-ctrl-icon { opacity: .25; } .mapboxgl-ctrl button:not(:disabled):hover { background-color: rgba(0, 0, 0, 0.05); } .mapboxgl-ctrl-group button:focus:focus-visible { -webkit-box-shadow: 0 0 2px 2px #0096ff; box-shadow: 0 0 2px 2px #0096ff; } .mapboxgl-ctrl-group button:focus:not(:focus-visible) { -webkit-box-shadow: none; box-shadow: none; } .mapboxgl-ctrl-group button:focus:first-child { border-radius: 4px 4px 0 0; } .mapboxgl-ctrl-group button:focus:last-child { border-radius: 0 0 4px 4px; } .mapboxgl-ctrl-group button:focus:only-child { border-radius: inherit; } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E"); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl button.mapboxgl-ctrl-fullscreen .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M24 16v5.5c0 1.75-.75 2.5-2.5 2.5H16v-1l3-1.5-4-5.5 1-1 5.5 4 1.5-3h1zM6 16l1.5 3 5.5-4 1 1-4 5.5 3 1.5v1H7.5C5.75 24 5 23.25 5 21.5V16h1zm7-11v1l-3 1.5 4 5.5-1 1-5.5-4L6 13H5V7.5C5 5.75 5.75 5 7.5 5H13zm11 2.5c0-1.75-.75-2.5-2.5-2.5H16v1l3 1.5-4 5.5 1 1 5.5-4 1.5 3h1V7.5z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-shrink .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M18.5 16c-1.75 0-2.5.75-2.5 2.5V24h1l1.5-3 5.5 4 1-1-4-5.5 3-1.5v-1h-5.5zM13 18.5c0-1.75-.75-2.5-2.5-2.5H5v1l3 1.5L4 24l1 1 5.5-4 1.5 3h1v-5.5zm3-8c0 1.75.75 2.5 2.5 2.5H24v-1l-3-1.5L25 5l-1-1-5.5 4L17 5h-1v5.5zM10.5 13c1.75 0 2.5-.75 2.5-2.5V5h-1l-1.5 3L5 4 4 5l4 5.5L5 12v1h5.5z'/%3E%3C/svg%3E"); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-fullscreen .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M24 16v5.5c0 1.75-.75 2.5-2.5 2.5H16v-1l3-1.5-4-5.5 1-1 5.5 4 1.5-3h1zM6 16l1.5 3 5.5-4 1 1-4 5.5 3 1.5v1H7.5C5.75 24 5 23.25 5 21.5V16h1zm7-11v1l-3 1.5 4 5.5-1 1-5.5-4L6 13H5V7.5C5 5.75 5.75 5 7.5 5H13zm11 2.5c0-1.75-.75-2.5-2.5-2.5H16v1l3 1.5-4 5.5 1 1 5.5-4 1.5 3h1V7.5z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-shrink .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M18.5 16c-1.75 0-2.5.75-2.5 2.5V24h1l1.5-3 5.5 4 1-1-4-5.5 3-1.5v-1h-5.5zM13 18.5c0-1.75-.75-2.5-2.5-2.5H5v1l3 1.5L4 24l1 1 5.5-4 1.5 3h1v-5.5zm3-8c0 1.75.75 2.5 2.5 2.5H24v-1l-3-1.5L25 5l-1-1-5.5 4L17 5h-1v5.5zM10.5 13c1.75 0 2.5-.75 2.5-2.5V5h-1l-1.5 3L5 4 4 5l4 5.5L5 12v1h5.5z'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-fullscreen .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M24 16v5.5c0 1.75-.75 2.5-2.5 2.5H16v-1l3-1.5-4-5.5 1-1 5.5 4 1.5-3h1zM6 16l1.5 3 5.5-4 1 1-4 5.5 3 1.5v1H7.5C5.75 24 5 23.25 5 21.5V16h1zm7-11v1l-3 1.5 4 5.5-1 1-5.5-4L6 13H5V7.5C5 5.75 5.75 5 7.5 5H13zm11 2.5c0-1.75-.75-2.5-2.5-2.5H16v1l3 1.5-4 5.5 1 1 5.5-4 1.5 3h1V7.5z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-shrink .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M18.5 16c-1.75 0-2.5.75-2.5 2.5V24h1l1.5-3 5.5 4 1-1-4-5.5 3-1.5v-1h-5.5zM13 18.5c0-1.75-.75-2.5-2.5-2.5H5v1l3 1.5L4 24l1 1 5.5-4 1.5 3h1v-5.5zm3-8c0 1.75.75 2.5 2.5 2.5H24v-1l-3-1.5L25 5l-1-1-5.5 4L17 5h-1v5.5zM10.5 13c1.75 0 2.5-.75 2.5-2.5V5h-1l-1.5 3L5 4 4 5l4 5.5L5 12v1h5.5z'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl button.mapboxgl-ctrl-compass .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M10.5 14l4-8 4 8h-8z'/%3E%3Cpath d='M10.5 16l4 8 4-8h-8z' fill='%23ccc'/%3E%3C/svg%3E"); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-compass .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M10.5 14l4-8 4 8h-8z'/%3E%3Cpath d='M10.5 16l4 8 4-8h-8z' fill='%23999'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-compass .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M10.5 14l4-8 4 8h-8z'/%3E%3Cpath d='M10.5 16l4 8 4-8h-8z' fill='%23ccc'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate:disabled .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23aaa'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3Cpath d='M14 5l1 1-9 9-1-1 9-9z' fill='red'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e58978'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e54e33'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-waiting .mapboxgl-ctrl-icon { -webkit-animation: mapboxgl-spin 2s linear infinite; animation: mapboxgl-spin 2s linear infinite; } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate:disabled .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23999'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3Cpath d='M14 5l1 1-9 9-1-1 9-9z' fill='red'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e58978'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e54e33'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate:disabled .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23666'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3Cpath d='M14 5l1 1-9 9-1-1 9-9z' fill='red'/%3E%3C/svg%3E"); } } @-webkit-keyframes mapboxgl-spin { 0% { -webkit-transform: rotate(0deg); } to { -webkit-transform: rotate(1turn); } } @keyframes mapboxgl-spin { 0% { -webkit-transform: rotate(0deg); transform: rotate(0deg); } to { -webkit-transform: rotate(1turn); transform: rotate(1turn); } } a.mapboxgl-ctrl-logo { width: 88px; height: 23px; margin: 0 0 -4px -4px; display: block; background-repeat: no-repeat; cursor: pointer; overflow: hidden; background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='88' height='23' viewBox='0 0 88 23' xmlns='http://www.w3.org/2000/svg' xmlns:xlink='http://www.w3.org/1999/xlink' fill-rule='evenodd'%3E%3Cdefs%3E%3Cpath id='a' d='M11.5 2.25c5.105 0 9.25 4.145 9.25 9.25s-4.145 9.25-9.25 9.25-9.25-4.145-9.25-9.25 4.145-9.25 9.25-9.25zM6.997 15.983c-.051-.338-.828-5.802 2.233-8.873a4.395 4.395 0 013.13-1.28c1.27 0 2.49.51 3.39 1.42.91.9 1.42 2.12 1.42 3.39 0 1.18-.449 2.301-1.28 3.13C12.72 16.93 7 16 7 16l-.003-.017zM15.3 10.5l-2 .8-.8 2-.8-2-2-.8 2-.8.8-2 .8 2 2 .8z'/%3E%3Cpath id='b' d='M50.63 8c.13 0 .23.1.23.23V9c.7-.76 1.7-1.18 2.73-1.18 2.17 0 3.95 1.85 3.95 4.17s-1.77 4.19-3.94 4.19c-1.04 0-2.03-.43-2.74-1.18v3.77c0 .13-.1.23-.23.23h-1.4c-.13 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height='100%25' fill='%23fff'/%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/mask%3E%3Cg opacity='.3' stroke='%23000' stroke-width='3'%3E%3Ccircle mask='url(%23c)' cx='11.5' cy='11.5' r='9.25'/%3E%3Cuse xlink:href='%23b' mask='url(/web/20211025190556im_/https://www.bbc.com/culture/columns/%23c)'/%3E%3C/g%3E%3Cg opacity='.9' fill='%23fff'%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/g%3E%3C/svg%3E"); } a.mapboxgl-ctrl-logo.mapboxgl-compact { width: 23px; } @media (-ms-high-contrast: active) { a.mapboxgl-ctrl-logo { background-color: transparent; background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='88' height='23' viewBox='0 0 88 23' xmlns='http://www.w3.org/2000/svg' xmlns:xlink='http://www.w3.org/1999/xlink' fill-rule='evenodd'%3E%3Cdefs%3E%3Cpath id='a' d='M11.5 2.25c5.105 0 9.25 4.145 9.25 9.25s-4.145 9.25-9.25 9.25-9.25-4.145-9.25-9.25 4.145-9.25 9.25-9.25zM6.997 15.983c-.051-.338-.828-5.802 2.233-8.873a4.395 4.395 0 013.13-1.28c1.27 0 2.49.51 3.39 1.42.91.9 1.42 2.12 1.42 3.39 0 1.18-.449 2.301-1.28 3.13C12.72 16.93 7 16 7 16l-.003-.017zM15.3 10.5l-2 .8-.8 2-.8-2-2-.8 2-.8.8-2 .8 2 2 .8z'/%3E%3Cpath id='b' d='M50.63 8c.13 0 .23.1.23.23V9c.7-.76 1.7-1.18 2.73-1.18 2.17 0 3.95 1.85 3.95 4.17s-1.77 4.19-3.94 4.19c-1.04 0-2.03-.43-2.74-1.18v3.77c0 .13-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V8.23c0-.12.1-.23.23-.23h1.4zm-3.86.01c.01 0 .01 0 .01-.01.13 0 .22.1.22.22v7.55c0 .12-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V15c-.7.76-1.69 1.19-2.73 1.19-2.17 0-3.94-1.87-3.94-4.19 0-2.32 1.77-4.19 3.94-4.19 1.03 0 2.02.43 2.73 1.18v-.75c0-.12.1-.23.23-.23h1.4zm26.375-.19a4.24 4.24 0 00-4.16 3.29c-.13.59-.13 1.19 0 1.77a4.233 4.233 0 004.17 3.3c2.35 0 4.26-1.87 4.26-4.19 0-2.32-1.9-4.17-4.27-4.17zM60.63 5c.13 0 .23.1.23.23v3.76c.7-.76 1.7-1.18 2.73-1.18 1.88 0 3.45 1.4 3.84 3.28.13.59.13 1.2 0 1.8-.39 1.88-1.96 3.29-3.84 3.29-1.03 0-2.02-.43-2.73-1.18v.77c0 .12-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V5.23c0-.12.1-.23.23-.23h1.4zm-34 11h-1.4c-.13 0-.23-.11-.23-.23V8.22c.01-.13.1-.22.23-.22h1.4c.13 0 .22.11.23.22v.68c.5-.68 1.3-1.09 2.16-1.1h.03c1.09 0 2.09.6 2.6 1.55.45-.95 1.4-1.55 2.44-1.56 1.62 0 2.93 1.25 2.9 2.78l.03 5.2c0 .13-.1.23-.23.23h-1.41c-.13 0-.23-.11-.23-.23v-4.59c0-.98-.74-1.71-1.62-1.71-.8 0-1.46.7-1.59 1.62l.01 4.68c0 .13-.11.23-.23.23h-1.41c-.13 0-.23-.11-.23-.23v-4.59c0-.98-.74-1.71-1.62-1.71-.85 0-1.54.79-1.6 1.8v4.5c0 .13-.1.23-.23.23zm53.615 0h-1.61c-.04 0-.08-.01-.12-.03-.09-.06-.13-.19-.06-.28l2.43-3.71-2.39-3.65a.213.213 0 01-.03-.12c0-.12.09-.21.21-.21h1.61c.13 0 .24.06.3.17l1.41 2.37 1.4-2.37a.34.34 0 01.3-.17h1.6c.04 0 .08.01.12.03.09.06.13.19.06.28l-2.37 3.65 2.43 3.7c0 .05.01.09.01.13 0 .12-.09.21-.21.21h-1.61c-.13 0-.24-.06-.3-.17l-1.44-2.42-1.44 2.42a.34.34 0 01-.3.17zm-7.12-1.49c-1.33 0-2.42-1.12-2.42-2.51 0-1.39 1.08-2.52 2.42-2.52 1.33 0 2.42 1.12 2.42 2.51 0 1.39-1.08 2.51-2.42 2.52zm-19.865 0c-1.32 0-2.39-1.11-2.42-2.48v-.07c.02-1.38 1.09-2.49 2.4-2.49 1.32 0 2.41 1.12 2.41 2.51 0 1.39-1.07 2.52-2.39 2.53zm-8.11-2.48c-.01 1.37-1.09 2.47-2.41 2.47s-2.42-1.12-2.42-2.51c0-1.39 1.08-2.52 2.4-2.52 1.33 0 2.39 1.11 2.41 2.48l.02.08zm18.12 2.47c-1.32 0-2.39-1.11-2.41-2.48v-.06c.02-1.38 1.09-2.48 2.41-2.48s2.42 1.12 2.42 2.51c0 1.39-1.09 2.51-2.42 2.51z'/%3E%3C/defs%3E%3Cmask id='c'%3E%3Crect width='100%25' height='100%25' fill='%23fff'/%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/mask%3E%3Cg stroke='%23000' stroke-width='3'%3E%3Ccircle mask='url(%23c)' cx='11.5' cy='11.5' r='9.25'/%3E%3Cuse xlink:href='%23b' mask='url(/web/20211025190556im_/https://www.bbc.com/culture/columns/%23c)'/%3E%3C/g%3E%3Cg fill='%23fff'%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/g%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { a.mapboxgl-ctrl-logo { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='88' height='23' viewBox='0 0 88 23' xmlns='http://www.w3.org/2000/svg' xmlns:xlink='http://www.w3.org/1999/xlink' fill-rule='evenodd'%3E%3Cdefs%3E%3Cpath id='a' d='M11.5 2.25c5.105 0 9.25 4.145 9.25 9.25s-4.145 9.25-9.25 9.25-9.25-4.145-9.25-9.25 4.145-9.25 9.25-9.25zM6.997 15.983c-.051-.338-.828-5.802 2.233-8.873a4.395 4.395 0 013.13-1.28c1.27 0 2.49.51 3.39 1.42.91.9 1.42 2.12 1.42 3.39 0 1.18-.449 2.301-1.28 3.13C12.72 16.93 7 16 7 16l-.003-.017zM15.3 10.5l-2 .8-.8 2-.8-2-2-.8 2-.8.8-2 .8 2 2 .8z'/%3E%3Cpath id='b' d='M50.63 8c.13 0 .23.1.23.23V9c.7-.76 1.7-1.18 2.73-1.18 2.17 0 3.95 1.85 3.95 4.17s-1.77 4.19-3.94 4.19c-1.04 0-2.03-.43-2.74-1.18v3.77c0 .13-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V8.23c0-.12.1-.23.23-.23h1.4zm-3.86.01c.01 0 .01 0 .01-.01.13 0 .22.1.22.22v7.55c0 .12-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V15c-.7.76-1.69 1.19-2.73 1.19-2.17 0-3.94-1.87-3.94-4.19 0-2.32 1.77-4.19 3.94-4.19 1.03 0 2.02.43 2.73 1.18v-.75c0-.12.1-.23.23-.23h1.4zm26.375-.19a4.24 4.24 0 00-4.16 3.29c-.13.59-.13 1.19 0 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url("data:image/svg+xml;charset=utf-8,%3Csvg width='24' height='24' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill-rule='evenodd'%3E%3Cpath d='M4 10a6 6 0 1012 0 6 6 0 10-12 0m5-3a1 1 0 102 0 1 1 0 10-2 0m0 3a1 1 0 112 0v3a1 1 0 11-2 0'/%3E%3C/svg%3E"); background-color: rgba(255, 255, 255, 0.5); width: 24px; height: 24px; -webkit-box-sizing: border-box; box-sizing: border-box; border-radius: 12px; } .mapboxgl-ctrl-bottom-right > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { bottom: 0; right: 0; } .mapboxgl-ctrl-top-right > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { top: 0; right: 0; } .mapboxgl-ctrl-top-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { top: 0; left: 0; } .mapboxgl-ctrl-bottom-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { bottom: 0; left: 0; } } @media screen and (-ms-high-contrast: active) { .mapboxgl-ctrl-attrib.mapboxgl-compact:after { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='24' height='24' viewBox='0 0 20 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padding: 0 5px; color: #333; -webkit-box-sizing: border-box; box-sizing: border-box; } .mapboxgl-popup { position: absolute; top: 0; left: 0; display: -ms-flexbox; display: flex; will-change: transform; pointer-events: none; } .mapboxgl-popup-anchor-top, .mapboxgl-popup-anchor-top-left, .mapboxgl-popup-anchor-top-right { -ms-flex-direction: column; flex-direction: column; } .mapboxgl-popup-anchor-bottom, .mapboxgl-popup-anchor-bottom-left, .mapboxgl-popup-anchor-bottom-right { -ms-flex-direction: column-reverse; flex-direction: column-reverse; } .mapboxgl-popup-anchor-left { -ms-flex-direction: row; flex-direction: row; } .mapboxgl-popup-anchor-right { -ms-flex-direction: row-reverse; flex-direction: row-reverse; } .mapboxgl-popup-tip { width: 0; height: 0; border: 10px solid transparent; z-index: 1; } .mapboxgl-popup-anchor-top .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-top: none; border-bottom-color: #fff; } .mapboxgl-popup-anchor-top-left .mapboxgl-popup-tip { -ms-flex-item-align: start; align-self: flex-start; border-top: none; border-left: none; border-bottom-color: #fff; } .mapboxgl-popup-anchor-top-right .mapboxgl-popup-tip { -ms-flex-item-align: end; align-self: flex-end; border-top: none; border-right: none; border-bottom-color: #fff; } .mapboxgl-popup-anchor-bottom .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-bottom: none; border-top-color: #fff; } .mapboxgl-popup-anchor-bottom-left .mapboxgl-popup-tip { -ms-flex-item-align: start; align-self: flex-start; border-bottom: none; border-left: none; border-top-color: #fff; } .mapboxgl-popup-anchor-bottom-right .mapboxgl-popup-tip { -ms-flex-item-align: end; align-self: flex-end; border-bottom: none; border-right: none; border-top-color: #fff; } .mapboxgl-popup-anchor-left .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-left: none; border-right-color: #fff; } .mapboxgl-popup-anchor-right .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-right: none; border-left-color: #fff; } .mapboxgl-popup-close-button { position: absolute; right: 0; top: 0; border: 0; border-radius: 0 3px 0 0; cursor: pointer; background-color: transparent; } .mapboxgl-popup-close-button:hover { background-color: rgba(0, 0, 0, 0.05); } .mapboxgl-popup-content { position: relative; background: #fff; border-radius: 3px; -webkit-box-shadow: 0 1px 2px rgba(0, 0, 0, 0.1); box-shadow: 0 1px 2px rgba(0, 0, 0, 0.1); padding: 10px 10px 15px; pointer-events: auto; } .mapboxgl-popup-anchor-top-left .mapboxgl-popup-content { border-top-left-radius: 0; } .mapboxgl-popup-anchor-top-right .mapboxgl-popup-content { border-top-right-radius: 0; } .mapboxgl-popup-anchor-bottom-left .mapboxgl-popup-content { border-bottom-left-radius: 0; } .mapboxgl-popup-anchor-bottom-right .mapboxgl-popup-content { border-bottom-right-radius: 0; } .mapboxgl-popup-track-pointer { display: none; } .mapboxgl-popup-track-pointer * { pointer-events: none; -webkit-user-select: none; -moz-user-select: none; -ms-user-select: none; user-select: none; } .mapboxgl-map:hover .mapboxgl-popup-track-pointer { display: -ms-flexbox; display: flex; } .mapboxgl-map:active .mapboxgl-popup-track-pointer { display: none; } .mapboxgl-marker { position: absolute; top: 0; left: 0; will-change: transform; } .mapboxgl-user-location-dot, .mapboxgl-user-location-dot:before { background-color: #1da1f2; width: 15px; height: 15px; border-radius: 50%; } .mapboxgl-user-location-dot:before { content: ""; position: absolute; -webkit-animation: mapboxgl-user-location-dot-pulse 2s infinite; animation: mapboxgl-user-location-dot-pulse 2s infinite; } .mapboxgl-user-location-dot:after { border-radius: 50%; border: 2px solid #fff; content: ""; height: 19px; left: -2px; position: absolute; top: -2px; width: 19px; -webkit-box-sizing: border-box; box-sizing: border-box; -webkit-box-shadow: 0 0 3px rgba(0, 0, 0, 0.35); box-shadow: 0 0 3px rgba(0, 0, 0, 0.35); } @-webkit-keyframes mapboxgl-user-location-dot-pulse { 0% { -webkit-transform: scale(1); opacity: 1; } 70% { -webkit-transform: scale(3); opacity: 0; } to { -webkit-transform: scale(1); opacity: 0; } } @keyframes mapboxgl-user-location-dot-pulse { 0% { -webkit-transform: scale(1); transform: scale(1); opacity: 1; } 70% { -webkit-transform: scale(3); transform: scale(3); opacity: 0; } to { -webkit-transform: scale(1); transform: scale(1); opacity: 0; } } .mapboxgl-user-location-dot-stale { background-color: #aaa; } .mapboxgl-user-location-dot-stale:after { display: none; } .mapboxgl-user-location-accuracy-circle { background-color: rgba(29, 161, 242, 0.2); width: 1px; height: 1px; border-radius: 100%; } .mapboxgl-crosshair, .mapboxgl-crosshair .mapboxgl-interactive, .mapboxgl-crosshair .mapboxgl-interactive:active { cursor: crosshair; } .mapboxgl-boxzoom { position: absolute; top: 0; left: 0; width: 0; height: 0; background: #fff; border: 2px dotted #202020; opacity: .5; } @media print { .mapbox-improve-map { display: none; } } /* stylelint-disable property-no-unknown */ .partner-module { border-bottom: 1px solid #472479; border-top: 0; } .partner-module__link, .partner-module__link:visited { -ms-flex-align: center; align-items: center; color: #444; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; padding: 0; text-decoration: none; } .partner-module__link:hover { background-color: #f5f5f5; } .partner-module__heading { display: inline-block; font-size: 16px; line-height: 22px; margin: 16px 0; } .partner-module__partner-name { font-weight: bold; } .partner-module__partner-logo { display: block; height: 31px; margin: 12px 0; margin-left: 17px; width: 88px; } /* stylelint-disable property-no-unknown */ .author-unit { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; font-size: 14px; letter-spacing: -0.1px; line-height: 35px; } .author-unit--small-mobile { line-height: 30px; } .author-unit .author-unit__container { color: #4a4a4a; margin: 0 auto; } .author-unit .author-unit__container--desktop { margin: 0; } .author-unit__container { -ms-flex-align: baseline; align-items: baseline; display: -ms-flexbox; display: flex; padding: 10px 0; } .author-unit__text { font-style: italic; font-weight: 600; padding-right: 10px; text-decoration: none; } .author-unit__icon { color: #6a6a6a; padding-right: 14px; position: relative; text-decoration: none; top: 1px; } .author-unit__icon:hover { color: #00bbf2; } /* stylelint-disable property-no-unknown */ .uppercase-label { color: #8f8d8d; font-size: 12px; font-style: condensed; font-weight: bold; letter-spacing: 1px; line-height: 16px; margin: 0; padding: 0; text-transform: uppercase; -webkit-transition: color 0.4s; transition: color 0.4s; } .uppercase-label--small { font-size: 11px; font-weight: 400; line-height: 14px; margin: 0; } .uppercase-label--medium { font-size: 14px; line-height: 18px; } .uppercase-label--reith-condensed { font-weight: 400; } .uppercase-label--white { color: #ebebeb; } .uppercase-label--light-grey { color: #999; } .uppercase-label--dark-grey { color: #444; } .uppercase-label--large { font-size: 16px; line-height: 18px; } .uppercase-label--true-white { color: #fff; text-shadow: 0 1px 1px #193e6d; } .uppercase-label--arial { font-family: Arial; } .label-with-line { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .label-with-line__label { margin: 0 16px 0 0; } .body-text-card-inline-video { margin: 24px 0; position: relative; } /* stylelint-disable property-no-unknown */ @-webkit-keyframes spin { 0% { -webkit-transform: rotate(0deg); transform: rotate(0deg); } 100% { -webkit-transform: rotate(360deg); transform: rotate(360deg); } } @keyframes spin { 0% { -webkit-transform: rotate(0deg); transform: rotate(0deg); } 100% { -webkit-transform: rotate(360deg); transform: rotate(360deg); } } .spinner { fill: #444; } .spinner__image { -webkit-animation: spin 1s linear infinite; animation: spin 1s linear infinite; } .spinner--worklife { fill: #8beed9; } .spinner--future { fill: #ffc857; } .spinner--culture { fill: #472479; } .spinner--travel { fill: #002856; } .spinner--earth { fill: #002856; } .spinner--white { fill: #fff; } .spinner--audio { height: 32px; width: 32px; } /* stylelint-disable property-no-unknown */ /* stylelint-disable property-no-unknown */ .inline-video { height: 100%; } .inline-video__container { position: relative; } .inline-video__border-line { padding: 0 10px; } .inline-video .play-button__inline-video { bottom: 0; left: 0; position: absolute; z-index: 1000; } .inline-video__smp { background-color: #000; padding-bottom: 56.25%; } .inline-video__smp--loaded { background-color: unset; padding-bottom: unset; } .inline-video__description { border-bottom: 1px solid rgba(106, 106, 106, 0.43); color: #737373; font-size: 16px; font-style: italic; line-height: 24px; margin: 0 10px 0 3%; padding: 20px 0 12px; } .inline-video__description--desktop { border-bottom: 1px solid rgba(106, 106, 106, 0.43); margin: 0 18px; padding: 28px 0 18px; } /* stylelint-disable property-no-unknown */ .inline-image__description { border-bottom: 1px solid rgba(106, 106, 106, 0.43); font-style: italic; margin: 0 10px; padding: 20px 0 12px; } .inline-image__description--desktop { border-bottom: 1px solid rgba(106, 106, 106, 0.43); margin: 0 18px; padding: 20px 0 18px; } .inline-image img { border-radius: 0; } /* stylelint-disable property-no-unknown */ .inline-quote { border-left: 3px solid #575757; color: #575757; font-style: italic; letter-spacing: -1.69px; line-height: 32px; margin: 0; padding-left: 22px; } .inline-quote--worklife { border-left: 3px solid #8beed9; } .inline-quote--future { border-left: 3px solid #ffc857; } .inline-quote--culture { border-left: 3px solid #472479; } .inline-quote--earth { border-left: 3px solid #002856; } .inline-quote h2 { font-weight: 300; } /* stylelint-disable property-no-unknown */ .inline-audio-player { background: none; } .inline-audio-player__smp-container { display: inline-block; width: 100%; } .inline-audio-player__smp-container > div { /* CreateSMPAudio */ display: inline-block; width: 100%; } .inline-audio-player__smp-container > div > div { height: 50px; position: relative; /* stylelint-disable-next-line selector-max-compound-selectors */ } .inline-audio-player__smp-container > div > div > div { padding: 0 !important; } .inline-audio-player__container { display: -ms-flexbox; display: flex; } .inline-audio-player__cta-holder { -ms-flex-align: center; align-items: center; background-color: #ededed; display: -ms-flexbox; display: flex; padding-right: 8px; } .inline-audio-player__cta-container { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .inline-audio-player__cta-container.initialising * { cursor: initial; pointer-events: none; -webkit-user-select: none; -moz-user-select: none; -ms-user-select: none; user-select: none; } .inline-audio-player__cta-container.initialising button { opacity: 0.6; } .inline-audio-player__text { background: none; border: 0; color: #222; cursor: pointer; font-size: 18px; height: 25px; letter-spacing: -0.1px; line-height: 25px; margin-left: 12px; outline: inherit; padding: 0; } .inline-audio-player__text--offline { cursor: default; pointer-events: none; } .inline-audio-player__disclaimer { background-color: #e6711b; color: #fff; cursor: pointer; height: 25px; left: -110px; line-height: 12px; margin-left: 0; padding: 0 7px; position: relative; top: 25px; width: 66px; } .inline-audio-player__disclaimer:hover .inline-audio-player__arrow { -webkit-transform: rotate(45deg); transform: rotate(45deg); } .inline-audio-player__inner-arrow { color: #4d4d49; font-size: 10px; } .inline-audio-player__arrow-button { background-color: transparent; border: 0; margin-left: auto; outline: none; -webkit-transition: all 0.5s ease; transition: all 0.5s ease; } .inline-audio-player__arrow-button__open { -webkit-transform: rotate(180deg); transform: rotate(180deg); } .inline-audio-player__disclaimer-copy { color: #444; display: block; font-size: 12px; letter-spacing: 0; line-height: 17px; margin-top: 16px; } .inline-audio-player__arrow { border: solid #fff; border-width: 0 2px 2px 0; display: inline-block; padding: 3px; position: relative; top: -1px; -webkit-transform: rotate(-45deg); transform: rotate(-45deg); -webkit-transition: 0.4s; transition: 0.4s; } .inline-audio-player__hidden { display: none; } .inline-audio-player .collapsible-container { background-color: #ededed; color: #444; font-size: 16px; line-height: 24px; padding: 1rem; } .inline-audio-player .collapsible-container__hide { display: none; } .inline-audio-player .previous-button__inline-audio { margin-right: 1px; } .inline-audio-player__line { margin-top: 16px; } .inline-audio-player .previous-media-button { height: 50px; margin-right: 1px; width: 50px; } .inline-audio-player .previous-button__inline-audio { margin-right: 1px; } .copyright__text { color: #737373; font-size: 16px; font-style: italic; line-height: 24px; margin-bottom: 10px; text-align: center; } @media (max-width: 767px) { .copyright__text { margin-top: 12px; } } .content-embed { width: 100%; } .infographic-embed__frame { width: 100%; } /* stylelint-disable property-no-unknown */ .article-video { height: 100%; position: relative; } .article-video img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .article-video__overlay { display: -ms-flexbox; display: flex; height: 100%; -ms-flex-pack: center; justify-content: center; top: 0; width: 100%; } .article-video__play-button { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; left: 50%; padding: 0; position: absolute; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); z-index: 1500; } .article-video__label { margin-bottom: 16px; } .article-video__image { bottom: 0; height: 100%; position: absolute; top: 0; width: 100%; } .article-video__image--hide { opacity: 0; } .article-video__playercore { display: block; } .article-video__playercore--mobile { display: none; position: absolute; top: 0; width: 100%; } .article-video__playercore--show { display: block; } .article-video--bordered { border-radius: 4px; overflow: hidden; } /* stylelint-disable property-no-unknown */ .hero-video { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: 180px; -ms-flex-pack: center; justify-content: center; position: relative; z-index: 1; } .hero-video__video { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: 80%; -ms-flex-pack: center; justify-content: center; position: relative; width: 80%; z-index: 2; } .hero-video__video--desktop { left: 0; top: 65px; width: 71.5% !important; } .hero-video__video--mobile { height: 100%; width: 100%; } .hero-video__video--small-desktop { height: 70%; left: 0; top: 78px; width: 67%; } .hero-video--small-desktop, .hero-video--desktop { display: block; height: 720px; } .hero-video img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; -webkit-filter: brightness(40%); filter: brightness(40%); } @media all and (-ms-high-contrast: none), (-ms-high-contrast: active) { .hero-video img { opacity: 0.5; } } .hero-video--mobile { height: 280px; } .hero-video--medium-mobile { height: 430px; } .hero-video--tablet { height: 574px; } .hero-video--tablet .hero-video__video { margin-bottom: 10px; } .hero-video__play-button { position: absolute; z-index: 100; } .hero-video__video div div { position: inherit !important; position: unset !important; } .share-tools-popout { -ms-flex-align: center; align-items: center; background-color: #fff; border: 1px solid #979797; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; padding: 30px 0 20px; position: relative; width: 300px; } .share-tools-popout__text { color: #444; font-size: 12px; font-weight: bold; letter-spacing: 3px; margin: 0 18px 18px; text-align: center; text-transform: uppercase; } .share-tools-popout__url-container { padding: 0 18px; width: 100%; } .share-tools-popout__articleurl { border: 1px solid #979797; -webkit-box-sizing: border-box; box-sizing: border-box; color: #a39f9f; font-size: 12px; letter-spacing: -0.5px; margin-bottom: 8px; margin-top: 0; padding: 12px 10px; text-align: center; width: 262px; } .share-tools-popout__close { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; position: absolute; right: 8px; top: 20px; } .share-tools-popout__close:hover .share-tools-popout__close-icon { color: #888; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .share-tools-popout__close-icon { color: #000; font-size: 16px; -webkit-transition: 0.4s; transition: 0.4s; } .share-tools-popout__border-arrow { background-color: #fff; border: 1px solid #979797; border-bottom: 0; border-right: 0; height: 12px; left: 40px; position: absolute; top: -7px; -webkit-transform: rotate(45deg); transform: rotate(45deg); width: 12px; } .share-tools-popout__tools { margin-bottom: 13px; } .share-tools-popout__details { -ms-flex-item-align: normal; -ms-grid-row-align: normal; align-self: normal; color: #444; font-size: 12px; letter-spacing: 0; line-height: 16px; margin: 0; max-width: 180px; padding-left: 14px; } .share-tools-popout__copied, .share-tools-popout__copy { background-color: #000; border: unset; color: #fff; cursor: pointer; font-size: 12px; font-weight: bold; letter-spacing: 3px; margin-bottom: 18px; padding: 12px 6px; text-transform: uppercase; -webkit-transition: 0.4s; transition: 0.4s; width: 110px; } .share-tools-popout__copy:hover { background-color: #555; } .share-tools-popout__copied .gelicon--yes { color: #ff9700; margin-left: 8px; } .share-button-with-popout { position: relative; z-index: 9999; } .share-button-with-popout__popout { max-width: 330px; padding-right: 8px; position: absolute; top: 53px; width: 100%; } .share-button-with-popout__popout--desktop { width: auto; } .article-end__line--long { margin-bottom: 24px; } .article-end__share-tools { margin-bottom: 0; } .article-end--tablet .article-end__line--long { margin-bottom: 36px; } .article-end--desktop .article-end__line--long { margin-bottom: 44px; } .article-end--desktop .article-end__share-tools { display: -ms-flexbox; display: flex; margin-bottom: 50px; } .article-end--desktop .article-end__share { margin-top: 0; } .article-end__share { margin-top: 5px; } /* stylelint-disable property-no-unknown */ .article-share-tools { display: -ms-flexbox; display: flex; } .article-share-tools a, .article-share-tools button { background-color: transparent; border: 1px solid #e4e4e4; border-radius: 0; -webkit-box-sizing: border-box; box-sizing: border-box; color: #979797; display: -ms-flexbox; display: flex; height: 52px; margin-right: 2px; width: 52px; } .article-share-tools--dark a, .article-share-tools--dark button { color: #444; height: 54px; width: 54px; } .article-share-tools--dark a svg, .article-share-tools--dark button svg { stroke: #444; } .article-share-tools a:hover, .article-share-tools button:hover { background-color: #fff; } .article-share-tools .facebook-icon:hover { color: #3b5898; } .article-share-tools .email-icon:hover { color: #615f5d; } .article-share-tools .twitter-icon:hover { color: #47c7fa; } .article-share-tools .linkedin-icon:hover { color: #0077b5; } .article-share-tools .whatsapp-icon:hover { color: #25d366; } .article-share-tools .facebook-messenger { color: #0184ff; } .article-share-tools .ticked-icon { background-color: transparent; border: 1px solid #e4e4e4; border-radius: 0; -webkit-box-shadow: none; box-shadow: none; font-size: 11px; margin-right: 2px; padding: 3px; } .article-share-tools--popout > *, .article-share-tools--popout a { color: #020203; margin-bottom: 3px; -webkit-transition: 0.4s; transition: 0.4s; } .domestic-disclaimer { background-color: #333; position: relative; } .domestic-disclaimer__content { display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; margin: auto; max-width: 990px; } .domestic-disclaimer__content--desktop-small { max-width: 976px; } .domestic-disclaimer__content--desktop { max-width: 1248px; } .domestic-disclaimer__text { color: #d8d8d8; font-size: 13px; line-height: 14px; margin: auto; padding: 8px 16px; } .domestic-disclaimer__text--tablet { font-size: 14px; line-height: 19px; padding: 16px 54px 16px 16px; } .domestic-disclaimer__text--desktop { font-size: 14px; line-height: 19px; margin-left: 0; max-width: 890px; padding: 14px 16px; } .domestic-disclaimer__close-button { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; padding: 0 16px 0 0; position: relative; } .domestic-disclaimer__close-button--desktop { padding: 0 16px 0 0; } .domestic-disclaimer__close-icon { color: #d8d8d8; font-size: 16px; } .domestic-disclaimer__close-icon--desktop { font-size: 22px; } /* stylelint-disable property-no-unknown */ .section-header-text__text { background-color: #fff; border-radius: 4px; -webkit-box-shadow: 0 0 20px 0 rgba(153, 153, 153, 0.5), 0 2px 5px 0 rgba(153, 153, 153, 0.5); box-shadow: 0 0 20px 0 rgba(153, 153, 153, 0.5), 0 2px 5px 0 rgba(153, 153, 153, 0.5); margin: 0 8px; opacity: 0.95; padding: 16px; position: relative; z-index: 3; } .section-header-text__text--no-margin { margin: 0; } .section-header-text__ad { display: -ms-flexbox; display: flex; -ms-flex-pack: end; justify-content: flex-end; margin: 0 8px 8px; position: relative; top: unset; } .section-header-text__ad--desktop { margin: 0 0 8px; } .section-header-text__title { display: inline-block; } .section-header-text__title--large-margin { margin: 0 40px 16px 0; } .section-header-text__title--premium { border: 1.78px solid; padding: 8px; } .section-header-text__title-content { color: #444; font-size: 22px; font-weight: bold; margin: unset; } .section-header-text__title-content--tablet { font-size: 24px; } .section-header-text__title-content--desktop { font-size: 28px; } .section-header-text__description { color: #555; font-size: 14px; line-height: 20px; margin: 0; } .section-header-text__description--large { font-size: 16px; line-height: 24px; } /* stylelint-disable property-no-unknown */ .section-header-unit { max-width: 1280px; position: relative; } .section-header-unit--tablet { height: 320px; } .section-header-unit--desktop { border-radius: 4px; height: 320px; overflow: hidden; } .section-header-unit__image { height: 320px; max-height: 320px; overflow: hidden; position: relative; } .section-header-unit__image img { left: 50%; position: relative; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); } .section-header-unit__image--right img { left: unset; min-width: 100%; right: 0; width: unset; } .section-header-unit__image--left img { left: unset; min-width: 100%; right: unset; width: unset; } .section-header-unit__content { position: relative; -webkit-transform: translateY(-50%); transform: translateY(-50%); } .section-header-unit__content--desktop { bottom: 0; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: center; justify-content: center; max-width: 420px; position: absolute; right: 32px; top: 0; -webkit-transform: none; transform: none; } .section-header-unit__content--advert { -webkit-transform: translateY(calc(-50% - 28px)); transform: translateY(calc(-50% - 28px)); /* - half the height of the advert so the text is still centered. */ } /* stylelint-disable property-no-unknown */ .label-list { display: -ms-flexbox; display: flex; -ms-flex-direction: row; flex-direction: row; position: relative; } .label-list__line { width: 100%; } .label-list__content { margin: 30px 0 0 16px; width: 100%; } .label-list__content--tablet { margin: 34px 0 0 38px; } .label-list__content--desktop { margin: 42px 0 0 32px; } .label-list__list-item { margin: 0; padding: 0; } .label-list__link { color: #444; font-size: 18px; line-height: 24px; text-decoration: none; } .label-list__link:hover { color: #adadad; } .label-list__link--large { font-size: 22px; line-height: 29px; } .label-list__link:not(:first-of-type) { margin-top: 8px; } .label-list__link--large:not(:first-of-type) { margin-top: 12px; } .label-list__list-items { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; margin-top: 36px; } .label-list__list-items--tablet { margin-top: 52px; } .label-list__list-items--desktop { margin-top: 46px; } /* stylelint-disable property-no-unknown */ .offline-reading { font-family: 'CuriousSansBold'; -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; } .offline-reading__header { font-size: 14px; line-height: 20px; margin: 0 0 16px; max-width: 220px; text-align: center; } .offline-reading__header--desktop { font-size: 18px; max-width: 460px; } .offline-reading__buttons { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; text-align: center; } .offline-reading__buttons--desktop { -ms-flex-align: center; align-items: center; -ms-flex-direction: row; flex-direction: row; } .offline-reading__top-stories { margin-bottom: 24px; } .offline-reading__top-stories--desktop { margin: 0 16px 0 0; } .offline-reading__icon { display: block; height: auto; margin-bottom: 24px; width: 120px; } /* stylelint-disable property-no-unknown */ .rectangle-image { background-size: cover; height: 74px; max-width: 100%; overflow: hidden; position: relative; width: 132px; } .rectangle-image img { height: 100%; left: 50%; position: absolute; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); width: auto; } .rectangle-image--small { -webkit-box-sizing: border-box; box-sizing: border-box; height: 32px; width: 56px; } .rectangle-image--large { -webkit-box-sizing: border-box; box-sizing: border-box; height: 162px; width: 288px; } .rectangle-image--medium { -webkit-box-sizing: border-box; box-sizing: border-box; height: 126px; width: 222px; } .rectangle-image--full-screen { padding-top: 56.25%; width: 100%; } .rectangle-image img { -webkit-transition: all 0.4s ease; transition: all 0.4s ease; } .rectangle-image__overlay { background-color: rgba(0, 0, 0, 0.6); bottom: 0; height: 100%; left: 0; opacity: 0; pointer-events: none; position: absolute; right: 0; top: 0; width: 100%; } .rectangle-image__overlay--culture { background-color: rgba(72, 41, 120, 0.6); } .rectangle-image:hover .rectangle-image__overlay { opacity: 1; } .rectangle-image:hover img { height: 108%; } /* stylelint-disable property-no-unknown */ .rectangle-story-item { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 100%; -ms-flex-pack: justify; justify-content: space-between; margin: auto; max-width: 100%; width: 288px; } .rectangle-story-item__image-container:hover .rectangle-image__overlay { opacity: 1; } .rectangle-story-item__image-container:hover .rectangle-story-item__icon { background-color: #000; } .rectangle-story-item__image-container--culture:hover .rectangle-story-item__icon { background-color: #482978; } .rectangle-story-item__image-container:hover .rectangle-image img { height: 108%; } .rectangle-story-item__image-container { position: relative; width: 100%; } .rectangle-story-item--tablet { width: 222px; } .rectangle-story-item__container { display: -ms-flexbox; display: flex; -ms-flex: 1 1 auto; flex: 1 1 auto; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: justify; justify-content: space-between; margin-top: 3px; width: 100%; } .rectangle-story-item__label { color: #4a4a4a; display: block; font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 16px; margin-right: auto; margin-top: 20px; padding-bottom: 3px; text-decoration: none; text-transform: uppercase; } .rectangle-story-item__label--worklife:hover, .rectangle-story-item__label--future:hover, .rectangle-story-item__label__travel:hover { background-image: none; } .rectangle-story-item__label--worklife > span:hover, .rectangle-story-item__label--future > span:hover, .rectangle-story-item__label__travel > span:hover { border-bottom: 1px solid #4a4a4a; } .rectangle-story-item__label--culture:hover { background-image: none; } .rectangle-story-item__label--culture > span:hover { border-bottom: 1px solid #482978; } .rectangle-story-item__line { display: block; margin: 16px 0; } .rectangle-story-item__author { color: #4a4a4a; display: block; font-size: 14px; font-style: italic; letter-spacing: 0.1px; line-height: 35px; text-decoration: none; } .rectangle-story-item__title { color: rgba(46, 46, 46, 0.85); display: block; font-size: 18px; letter-spacing: -0.21px; line-height: 30px; text-decoration: none; } .rectangle-story-item__icon { background-color: #000; bottom: 0; color: #fff; font-size: 14px; height: 44px; line-height: 44px; position: absolute; text-align: center; -webkit-transition: 0.4s ease; transition: 0.4s ease; width: 44px; } .rectangle-story-item__title--white, .rectangle-story-item__author--white, .rectangle-story-item__label--white { color: #fff; } .rectangle-story-item__label--white:hover { border-bottom: 0; } .rectangle-story-item__label--white > span:hover { border-bottom: 1px solid #fff; } .rectangle-article-group { display: -ms-flexbox; display: flex; -ms-flex: 1 1; flex: 1 1; -ms-flex-direction: column; flex-direction: column; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: center; justify-content: center; position: relative; } .rectangle-article-group--tablet, .rectangle-article-group--desktop { -ms-flex-direction: row; flex-direction: row; } .rectangle-article-group__article { display: inline-block; padding-top: 12px; } .rectangle-article-group__article--tablet { padding: 0 16px 0 0; } .rectangle-article-group__article--desktop { padding: 0 24px 0 0; } .fake-ad { -ms-flex-line-pack: center; align-content: center; -ms-flex-align: center; align-items: center; background: #f6f6f6; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: center; justify-content: center; padding: 8px; } .fake-ad__body { -ms-flex-align: center; align-items: center; background: #5ae9cb; color: #fff; display: -ms-flexbox; display: flex; -ms-flex: 0 0 auto; flex: 0 0 auto; font-family: Arial, sans-serif; -ms-flex-pack: center; justify-content: center; } .fake-ad__text { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; color: #444; font-family: Arial, sans-serif; font-size: 12px; font-weight: bold; line-height: 1.5; text-align: right; text-transform: uppercase; } .fake-ad--mpu .fake-ad__body { height: 320px; width: 320px; } .fake-ad--mpu .fake-ad__text { width: 320px; } .fake-ad--mobile-leaderboard .fake-ad__body { height: 50px; width: 300px; } .fake-ad--mobile-leaderboard .fake-ad__text { width: 300px; } .fake-ad--leaderboard .fake-ad__body { height: 90px; width: 728px; } .fake-ad--leaderboard .fake-ad__text { width: 728px; } .body-text-card-inline-image { margin: 24px 0; position: relative; } /* stylelint-disable property-no-unknown */ .body-text-card { color: #444; display: block; font-size: 16px; line-height: 1.5; } .body-text-card__image, .body-text-card__video { margin: 24px 0; } .body-text-card__text { display: block; } .body-text-card__advert { margin: 20px 0; } .body-text-card__text div a { cursor: pointer; font-weight: bold; text-decoration: none; } .body-text-card__text a:hover { text-decoration: underline; } .body-text-card__text > div > p { margin: 0 20px 16px; } .body-text-card__text > div > p:last-child { margin-bottom: 0; padding-bottom: 0; } .body-text-card__drop-capped { float: left; margin: 0 8px 0 20px; padding-top: 6px; } .body-text-card__text--drop-capped p:first-of-type::first-letter { color: transparent; font-size: 0; } .body-text-card__text--flush-text > div > p { margin-left: 0; margin-right: 0; } .body-text-card__text--future div a:visited { color: #666; } .body-text-card__text--future div a { color: #002856; -webkit-text-decoration-color: #002856; text-decoration-color: #002856; } .body-text-card__text--travel div a { color: #589e50; -webkit-text-decoration-color: #589e50; text-decoration-color: #589e50; } .body-text-card__text--worklife div a { color: #0052a1; -webkit-text-decoration-color: #0052a1; text-decoration-color: #0052a1; } .body-text-card__text--earth div a { color: #0fbb56; -webkit-text-decoration-color: #0fbb56; text-decoration-color: #0fbb56; } .body-text-card__text--culture div a { color: #472479; -webkit-text-decoration-color: #472479; text-decoration-color: #472479; } /* stylelint-disable property-no-unknown */ .branding { -webkit-box-sizing: content-box !important; box-sizing: content-box !important; display: inline-block; height: 24px; padding: 12px 16px; width: 100%; } .branding__icon { display: inline-block; height: 24px; width: 100%; } .branding__icon g { fill: #fff; } .branding--medium { padding: 16px; } .branding--large { padding: 16px 24px; } .branding--worklife { background-color: #0052a1; } .branding--future { background-color: #002856; } .branding--culture { background-color: #472479; } .branding--earth { background-color: #0fbb56; } .branding--travel { background-color: #589e50; } .branding--travel svg, .branding--earth svg, .branding--culture svg, .branding--future svg, .branding--worklife svg { height: 24px; } .branding--small, .branding--small svg { height: 17px; } .branding__icon--medium, .branding--medium, .branding--medium svg { height: 22px; } .branding__icon--large, .branding--large, .branding--large svg { height: 24px; } .branding__icon--largest, .branding--largest, .branding--largest svg { height: 32px; } .branding__icon--small, .branding--travel .branding__icon--small svg, .branding--earth .branding__icon--small svg, .branding--culture .branding__icon--small svg, .branding--future .branding__icon--small svg, .branding--worklife .branding__icon--small svg { height: 17px; } /* stylelint-disable property-no-unknown */ .swimlane-inner { background-position: center; background-repeat: no-repeat; background-size: auto 100%; display: block; padding: 24px 16px; } .swimlane-inner--small { padding: 24px 8px; } .swimlane-inner--tablet { padding: 28px 16px 42px; } .swimlane-inner--small-desktop { padding: 30px 16px 42px; } .swimlane-inner--desktop { padding: 38px 16px 42px; } .swimlane { overflow: hidden; position: relative; z-index: 0; } .swimlane__black { background-color: #0e0e0e; } .swimlane__background-image { height: 500px; position: absolute; right: 0; top: 0; width: 915px; z-index: -1; } .swimlane__background-image--mobile { height: 181px; width: 320px; } .swimlane__background-image--tablet { height: 421px; width: 752px; } .swimlane__background-image--desktop { height: 500px; width: 915px; } .swimlane__background-image--atb { background-color: rgba(51, 51, 51, 0.8); background-size: cover; height: 100%; width: 100%; } .swimlane__item { margin: 0 0 25px; width: 100%; } .swimlane__item--desktop { margin: 0; } .swimlane__item--tablet { margin: 0 16px 25px 0; width: calc((100% - 48px) / 3); } .swimlane__item--tablet:nth-of-type(3n + 3) { margin-right: 0; } .swimlane__item--two-columns { margin-right: 0 !important; max-width: 572px; width: 50%; } .swimlane__item--four-columns { -webkit-box-sizing: border-box; box-sizing: border-box; margin-bottom: 25px; margin-right: 16px; width: calc((100% - 48px) / 4); } .swimlane__item--four-columns:nth-of-type(4n + 4) { margin-right: 0; } .swimlane__items { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; margin-top: 24px; text-align: left; } .swimlane__items--desktop { -ms-flex-direction: row; flex-direction: row; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: center; justify-content: center; margin-top: 42px; } .swimlane__items--small-desktop { -ms-flex-direction: row; flex-direction: row; -ms-flex-wrap: wrap; flex-wrap: wrap; margin-top: 30px; } .swimlane__items--tablet { -ms-flex-direction: row; flex-direction: row; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: justify; justify-content: space-between; margin-top: 30px; } .swimlane__items--no-title { margin-top: 0; } .swimlane__content { margin: auto; max-width: 942px; text-align: center; } .swimlane__content--desktop { max-width: 1216px; } .swimlane__title { color: #fff; font-size: 14px; font-weight: bold; letter-spacing: 2.92px; line-height: 19px; text-transform: uppercase; } .swimlane__title--black { color: #010101; font-weight: 400; } .see-more-button-container-alt { color: #0e0e0e; } .follow-us-on { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; position: relative; } .follow-us-on__text { color: #fff; font-size: 16px; font-style: condensed; line-height: 20px; margin: 0 0 20px; padding: 0; text-transform: uppercase; } .follow-us-on__links { display: -ms-flexbox; display: flex; -ms-flex-direction: row; flex-direction: row; } .follow-us-on__link:first-child { margin-right: 16px; } /* stylelint-disable property-no-unknown */ .nav-bar { background-color: #fff; } .nav-bar__hidden-menu { display: none; } .nav-bar__visible-menu { display: block; } .nav-bar__no-scroll { max-height: 100vh; overflow: hidden; } /* stylelint-disable property-no-unknown */ .dot-with-label { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .dot-with-label__text { padding-left: 8px; } .dot-with-label__text a { text-decoration: none; } .dot-with-label__text:hover h2 { color: #adadad; } .sponsor-section { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 100%; max-width: 530px; } .sponsor-section--menu { padding: 20px 0 16px 24px; } .sponsor-section__container { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 100%; } .sponsor-section__container--desktop { -ms-flex-align: center; align-items: center; -ms-flex-direction: row; flex-direction: row; -ms-flex-pack: justify; justify-content: space-between; } .sponsor-section__sponsor { color: #fff; padding-right: 16px; } .sponsor-section__sponsor-name { font-family: 'CuriousSansBold'; color: #4e4e4e; font-size: 26px; margin: 0; white-space: nowrap; } .sponsor-section__sponsor-name--mobile { padding-bottom: 16px; } .sponsor-section__sponsor-name--desktop { font-size: 22px; } .sponsor-section__sponsor-name--menu { color: #fff; } .sponsor-section__sponsor-name--menu-desktop { font-size: 32px; } .sponsor-section__summary { color: #ebebeb; font-size: 16px; line-height: 24px; padding-top: 16px; } .sponsor-section__advert { display: inline-block; } .icon-with-label { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .icon-with-label__icon { padding-right: 10px; } .full-width-image-article { width: 100%; } .full-width-image-article__container { min-height: 325px; overflow: hidden; position: relative; } .full-width-image-article__container--desktop { min-height: 400px; } .full-width-image-article__image { height: 100%; overflow: hidden; position: absolute; width: 100%; } .full-width-image-article__image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .full-width-image-article__text { -ms-flex-align: center; align-items: center; color: #fff; left: 50%; max-width: 488px; padding: 0 20px; position: absolute; text-align: center; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); width: 100%; } .full-width-image-article__text a { color: #fff; text-decoration: none; } .full-width-image-article__text .full-width-image-article-text__label { display: inline-block; font-size: 14.4px; font-weight: bold; letter-spacing: 3.6px; line-height: 19px; margin-bottom: 11px; text-transform: uppercase; } .full-width-image-article__text .full-width-image-article-text__header { font-size: 24px; letter-spacing: -0.25px; line-height: 42px; margin: 0; padding: 0; } .full-width-image-article__text .full-width-image-article-text__header--desktop { font-size: 33.6px; } .full-width-image-article__text .full-width-image-article-text__author { font-size: 16.6px; font-style: italic; letter-spacing: -0.13px; line-height: 42px; margin-bottom: 0; margin-top: 28px; } .full-width-image-article__text .full-width-image-article-text__author--desktop { margin-top: 32px; } .full-width-image-article__background { background-image: radial-gradient(50% 49%, rgba(5, 36, 53, 0.37) 50%, rgba(0, 0, 0, 0) 83%); height: 100%; pointer-events: none; position: absolute; top: 0; width: 100%; } .full-width-image-article__link { color: #fff; text-decoration: none; } .more-articles { background-position: center; background-repeat: no-repeat; background-size: cover; -o-object-fit: cover; object-fit: cover; overflow: hidden; position: relative; -webkit-transition: background-image 0.4s; transition: background-image 0.4s; } .more-articles__heading { display: inline-block; margin: auto; max-width: 1272px; padding: 20px 0 0 16px; position: relative; z-index: 5; } .more-articles__stories { margin: 10px 16px 42px; max-width: 1232px; padding: 8px; position: relative; z-index: 4; } .more-articles__stories--small { padding: 0; } .more-articles__stories--tablet { margin: 24px 16px 72px; max-width: 1216px; } .more-articles__stories--desktop { margin: 56px 48px 92px; max-width: 1152px; } .more-articles__story-container:not(:first-of-type) { padding-top: 16px; } .more-articles__line { opacity: 0.3; padding-top: 16px; z-index: 5; } .more-articles__image-overlay { background-color: rgba(25, 62, 109, 0.3); bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; -o-object-fit: cover; object-fit: cover; pointer-events: none; position: absolute; right: -100%; top: -100%; width: 100%; z-index: 1; } .more-articles__image { opacity: 0; -webkit-transition: 0.6s; transition: 0.6s; } .more-articles__image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .more-articles__image--right img { left: unset; min-width: 100%; right: 0; width: unset; } .more-articles__image--left img { left: unset; min-width: 100%; right: unset; width: unset; } .more-articles__image--visible { opacity: 1; } .more-articles__story--two-columns, .more-articles__story--three-columns { padding-right: 16px; width: 310px; } .more-articles__story-container:nth-child(even) .more-articles__story--two-columns { padding-right: 0; } .more-articles__story-container:nth-child(3n + 3) .more-articles__story--three-columns { padding-right: 0; } .more-articles__stories--two-columns, .more-articles__stories--three-columns { -ms-flex-align: end; align-items: flex-end; display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; padding: 16px; } .more-articles__stories--two-columns .more-articles-item__link, .more-articles__stories--three-columns .more-articles-item__link { pointer-events: all; } .more-articles__story-container--two-columns { display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; width: 50%; } .more-articles__story-container--two-columns:nth-child(2) { padding-top: 0; } .more-articles__story-container--three-columns { display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; width: 33%; } .more-articles__story-container--three-columns:nth-child(-n + 3) { padding-top: 0; } .more-articles__heading--small { padding: 20px 0 0 8px; } .more-articles__heading--desktop { max-width: 1264px; padding: 38px 0 0 16px; } .more-articles__heading--tablet { max-width: 1264px; padding: 24px 0 0 16px; } /* stylelint-disable property-no-unknown */ .more-articles-item { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; position: relative; z-index: 5; } .more-articles-item__link { text-decoration: none; } .more-articles-item__container { display: -ms-flexbox; display: flex; width: 100%; } .more-articles-item__label { display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; margin-top: 8px; } .more-articles-item__type { margin-right: 16px; position: relative; } .more-articles-item__icon { color: #fff; font-size: 12px; margin-right: 8px; } .more-articles-item__text { color: #fff; font-size: 20px; font-weight: bold; line-height: 24px; padding: 0; position: relative; text-shadow: 0 1px 2px rgba(25, 62, 109, 0.7); -webkit-transition: color 0.4s; transition: color 0.4s; } .more-articles-item__text--medium { font-size: 22px; line-height: 28px; } .more-articles-item__text--large { color: #ebebeb; font-size: 30px; line-height: 37px; } .more-articles-item__container--column { -ms-flex-direction: column; flex-direction: column; } .more-articles-item__image-container { position: relative; } .more-articles-item--two-columns { margin-right: 16px; } .more-articles-item__label--desktop { margin-top: 16px; } .more-articles-item__label--tablet { margin-top: 16px; } .more-articles-item__link:hover .more-articles-item__text { color: #adadad; } .most-popular { background-color: #f9f9f9; } .most-popular__inner { margin: 0 auto; max-width: 894px; padding: 45px 24px 21px; } .most-popular__inner--desktop { padding: 47px 0 86px; } .most-popular__header { color: #010101; font-size: 14px; letter-spacing: 2.92px; line-height: 19px; margin: 0; text-align: center; text-transform: uppercase; } .most-popular__items { display: block; } .most-popular__items--desktop { display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; margin-top: 57px; } .most-popular-item { box-sizing: border-box; padding-top: 33px; } .most-popular-item:last-of-type { margin-bottom: 42px; } .most-popular-item--desktop { padding: 0 20px; width: calc(33.333%); } .most-popular-item--desktop:nth-child(3n + 2) { -ms-flex-order: 2; order: 2; padding: 38px 20px; } .most-popular-item--desktop:nth-child(3n + 3) { -ms-flex-order: 3; order: 3; } .most-popular-item--desktop:nth-child(n+4) { border-left: 1px solid #dadada; } .most-popular-item--desktop:last-of-type { margin-bottom: 0; } .most-popular-item a { text-decoration: none; } .most-popular-item__content { -ms-flex-align: end; align-items: flex-end; display: -ms-flexbox; display: flex; margin-top: 5px; } .most-popular-item__number { color: #cbcbcb; font-size: 40px; font-style: italic; font-weight: bold; line-height: 32px; margin: 0 20px 0 0; width: 25px; } .most-popular-item__label { color: #4a4a4a; font-size: 12px; font-weight: bold; letter-spacing: 3px; margin: 0 0 0 45px; text-transform: uppercase; } .most-popular-item__title { color: #2e2e2ecc; font-size: 14px; letter-spacing: -0.17px; line-height: 22px; margin-bottom: 0; margin-top: 0; } .most-popular-item__title--desktop { font-size: 16px; } .StickyElementContent { -webkit-transition: -webkit-transform 0.5s; transition: -webkit-transform 0.5s; transition: transform 0.5s; transition: transform 0.5s, -webkit-transform 0.5s; } .StickyElementContent--is-undocked { left: 0; position: fixed; top: 0; width: 100%; } .StickyElementContent--is-hidden { -webkit-transform: translateY(-100%); transform: translateY(-100%); } /* stylelint-disable property-no-unknown */ .error-page-header { position: relative; } .error-page-header__headers { margin-bottom: 16px; position: relative; z-index: 1; } .error-page-header__headers--tablet-plus { margin-bottom: 32px; } .error-page-header__description { color: #444; font-size: 16px; line-height: 20px; } .error-page-header__play-icon { margin-right: 16px; } .error-page-header__play-icon button { color: #adadad; } .error-page-header__dot-label { display: -ms-flexbox; display: flex; } /* stylelint-disable property-no-unknown */ .styled-list { list-style: none; margin: 0; padding: 0; } .styled-list__item { display: -ms-flexbox; display: flex; -ms-flex-direction: row; flex-direction: row; } .styled-list__item:not(:first-of-type) { padding-top: 8px; } .styled-list__item a { font-weight: bold; text-decoration: none; } .styled-list__item--worklife a { color: #8beed9; } .styled-list__item--future a { color: #ffc857; } .styled-list__item--culture a { color: #472479; } .styled-list__item--earth a { color: #002856; } .styled-list__item--travel a { color: #002856; } .styled-list__text { color: #444; font-size: 16px; line-height: 24px; padding-left: 20px; } .styled-list__dot { display: -ms-flexbox; display: flex; margin-top: 8px; } /* stylelint-disable property-no-unknown */ .image-gallery-item { margin: 26px 0; } .image-gallery-item img { height: 100%; -o-object-fit: cover; object-fit: cover; width: 100%; } .image-gallery-item__image--landscape { margin: 20px 0 20px -3%; width: 106%; } @media (max-width: 1000px) and (min-width: 767px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -16%; width: 116%; } } @media (max-width: 1180px) and (min-width: 1024px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -8%; width: 108%; } } @media (max-width: 1365px) and (min-width: 1280px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -42%; width: 142%; } } @media (min-width: 1366px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -55%; width: 155%; } } .image-gallery-item__image--portrait { margin: 20px 0; width: 100%; } @media (max-width: 599px) { .image-gallery-item__image--portrait { margin-left: -3%; width: 106%; } } .image-gallery-item__image--portrait, .image-gallery-item__image--portrait img { max-height: 507px; min-height: 463px; } @media (max-width: 1279px) and (min-width: 768px) { .image-gallery-item__image--portrait, .image-gallery-item__image--portrait img { min-height: 818px; } } .error-page { position: relative; } .error-page__container { margin-bottom: 16px; } .error-page__container--tablet-plus { margin-bottom: 32px; } .error-page__title { margin-bottom: 12px; } .error-page__title--desktop { margin-bottom: 24px; } /* stylelint-disable property-no-unknown */ .article-labels { font-size: 12px; line-height: 16px; text-transform: uppercase; } .article-labels a { color: #fff; letter-spacing: 1px; text-decoration: none; } .article-labels__text:first-child { font-weight: bold; } /* stylelint-disable property-no-unknown */ .rectangle-story-group { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; margin: auto; position: relative; } .rectangle-story-group__articles { display: -ms-flexbox; display: flex; -ms-flex: 1 1; flex: 1 1; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: center; justify-content: center; position: relative; } .rectangle-story-group__articles--small-tablet { -ms-flex-pack: unset; justify-content: unset; } .rectangle-story-group__articles--full-screen { display: block; } .rectangle-story-group__article { display: inline-block; padding-left: 18px; padding-top: 16px; } .rectangle-story-group__article--tablet { padding-left: 20px; padding-top: 22px; } .rectangle-story-group__article--desktop { padding-left: 22px; padding-top: 24px; } .rectangle-story-group__article--desktop:first-of-type { padding-left: 8px; } .rectangle-story-group__article--small-tablet { -webkit-box-sizing: border-box; box-sizing: border-box; width: 50%; } .rectangle-story-group__article--full-screen { display: block; padding: 16px; } .rectangle-story-group__article--full-screen:first-of-type { padding-top: 0; } .rectangle-story-group__article--small-desktop { padding-left: 10px; } .rectangle-story-group__article--small-desktop:last-of-type { padding-right: 8px; } .rectangle-story-group__articles-container { margin: auto; max-width: 950px; overflow: hidden; width: 100%; } .rectangle-story-group__advert-mpu { display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; margin-left: auto; margin-right: auto; padding: 16px 16px 24px; } .rectangle-story-group__advert-mpu--desktop { border-left: 1px solid #dadada; display: block; padding: 0 0 0 16px; padding-top: 0; } .rectangle-story-group__advert-mpu--small-desktop { display: block; padding: 0 0 0 8px; } .rectangle-story-group__hero--desktop { display: -ms-flexbox; display: flex; } .rectangle-story-group__article-hero--tablet { display: -ms-flexbox; display: flex; } .article-title-card-rectangle { width: 100%; } .article-title-card-rectangle__image:hover .article-title-card-rectangle__overlay { opacity: 1; } .article-title-card-rectangle__overlay { background-color: rgba(0, 0, 0, 0.6); bottom: 0; height: 100%; left: 0; opacity: 0; pointer-events: none; position: absolute; right: 0; top: 0; -webkit-transition: -webkit-transform 0.5s ease; transition: -webkit-transform 0.5s ease; transition: transform 0.5s ease; transition: transform 0.5s ease, -webkit-transform 0.5s ease; width: 100%; will-change: transform; } .article-title-card-rectangle__overlay--culture { background-color: rgba(72, 41, 120, 0.6); } .article-title-card-rectangle__image { margin-right: 40px; max-height: 390px; max-width: 620px; overflow: hidden; position: relative; width: auto; } .article-title-card-rectangle__image img { display: block; min-height: 194px; min-width: 344px; width: 100%; } .article-title-card-rectangle__image--tablet, .article-title-card-rectangle__image--desktop { margin-right: 0; width: 100%; } .article-title-card-rectangle__image--tablet img, .article-title-card-rectangle__image--desktop img { width: 110%; } .article-title-card-rectangle__image--preview-article { margin-right: 0; } .article-title-card-rectangle__image--index { margin-right: 0; max-width: 100%; } .article-title-card-rectangle__container { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; position: relative; } .article-title-card-rectangle__container--tablet, .article-title-card-rectangle__container--desktop { -ms-flex-align: center; align-items: center; -ms-flex-direction: row; flex-direction: row; } .article-title-card-rectangle__container--preview-article { margin-right: 8px; } .article-title-card-rectangle__container--index { -ms-flex-align: initial; align-items: initial; -ms-flex-direction: column; flex-direction: column; } .article-title-card-rectangle__text-box { background-color: #fff; margin-left: 40px; padding: 16px 22px 0; position: relative; top: -22px; } .article-title-card-rectangle__text-box__label { color: #4a4a4a; font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 20px; margin: 0; text-transform: uppercase; width: -webkit-fit-content; width: -moz-fit-content; width: fit-content; } .article-title-card-rectangle__text-box__label--worklife:hover, .article-title-card-rectangle__text-box__label--future:hover { border-bottom: 1px solid #4a4a4a; } .article-title-card-rectangle__text-box__label--culture:hover { border-bottom: 1px solid #482978; } .article-title-card-rectangle__text-box__label--index { color: #000; font-size: 20px; font-weight: 300; letter-spacing: -0.53px; line-height: 30px; } .article-title-card-rectangle__text-box__label--index--tablet { font-size: 28px; letter-spacing: -0.74px; line-height: 44px; } .article-title-card-rectangle__text-box__label--index--desktop { font-size: 32px; letter-spacing: -0.84px; line-height: 44px; } .article-title-card-rectangle__text-box__header { color: #2e2e2e; font-size: 18px; letter-spacing: -0.21px; line-height: 30px; margin-bottom: 30px; margin-top: 12px; } .article-title-card-rectangle__text-box__header--desktop { font-size: 28px; } .article-title-card-rectangle__text-box__header--tablet { font-size: 26px; } .article-title-card-rectangle__text-box__header--index { color: #3d3d3d; font-family: Helvetica; font-size: 16px; letter-spacing: -0.12px; line-height: 31px; margin-top: 4px; } .article-title-card-rectangle__text-box__author { color: #4a4a4a; font-size: 14px; font-style: italic; letter-spacing: -0.1px; line-height: 35px; margin: 8px 0 0; } .article-title-card-rectangle__text-box__author--tablet { margin: 14px 0 0; } .article-title-card-rectangle__text-box--tablet, .article-title-card-rectangle__text-box--desktop { left: -40px; margin: 0; padding: 40px; top: 0; -webkit-transform: none; transform: none; } .article-title-card-rectangle__text-box--desktop { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: center; justify-content: center; } .article-title-card-rectangle__text-box--tablet { padding: 35px 22px 22px; } .article-title-card-rectangle__text-box--index { left: 0; margin-right: 40px; } .article-title-card-rectangle__text-box--index--tablet { margin-left: 50px; margin-right: 50px; padding: 30px 36px 0; top: -80px; } .article-title-card-rectangle__text-box--index--desktop { margin-left: 50px; max-width: 560px; top: -88px; width: 100%; } .article-title-card-rectangle__link { color: #000; text-decoration: none; } .article-title-card-rectangle__text-container { display: block; max-width: 252px; } .article-title-card-rectangle__text-container--tablet, .article-title-card-rectangle__text-container--desktop { max-width: 320px; } .article-title-card-rectangle__preview-container { color: #4d4d4d; text-decoration: none; } .article-title-card-rectangle__preview-text { display: block; font-size: 16px; line-height: 24px; margin-top: 27px; max-width: 396px; } .article-title-card-rectangle__read-more { display: inline-block; font-size: 15px; letter-spacing: 4px; margin: 25px 16px 0 0; text-transform: uppercase; } .article-title-card-rectangle__arrow { color: #bababa; display: inline-block; -webkit-transform: rotate(-90deg); transform: rotate(-90deg); } .article-headline { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; padding: 43px 0; } .article-headline .article-labels { text-align: center; } .article-headline__line--short { margin-bottom: 40px; } .article-headline--largeTablet .article-headline__text { font-size: 32px; text-align: center; } .article-headline--tablet { padding: 31px 0; } .article-headline--tablet .article-headline__collection { margin-bottom: 24px; } .article-headline--tablet .article-headline__text { font-size: 32px; letter-spacing: -0.84px; margin: 0 15px 23px; text-align: center; } .article-headline--mobile { padding: 20px 0; } .article-headline--mobile .article-headline__text { font-size: 24px; letter-spacing: -0.63px; margin: 0 15px 15px; text-align: center; } .article-headline--mobile .article-headline__collection { margin-bottom: 15px; } .article-headline__collection { margin-bottom: 40px; } .article-headline__collection a { color: #242424; } .article-headline__text { font-size: 45px; letter-spacing: -1.26px; line-height: 30px; margin-bottom: 44px; } /* stylelint-disable property-no-unknown */ .loading-spinner { margin: 0 auto; text-align: center; } .loading-spinner__message { color: #002756; display: block; font-size: 1.2rem; font-weight: bold; margin: 12px 0; text-align: center; text-transform: uppercase; } .loading-spinner__image { display: block; margin: 0 auto; width: 48px; } @media only screen and (min-width: 1600px) { .hero-image { height: 900px; position: relative; } .hero-image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } } @media only screen and (max-width: 1600px) { .hero-image { height: 0; overflow: hidden; padding-top: 56.25%; position: relative; } .hero-image img { height: 100%; left: 0; position: absolute; top: 0; width: 100%; } } /* stylelint-disable property-no-unknown */ .article-hero { height: 672px; margin: 0; overflow: hidden; position: relative; width: 100%; } .article-hero--small-mobile { height: 373px; } .article-hero--mobile { height: 486px; } .article-hero--small-tablet { height: 433px; } .article-hero--tablet { height: 433px; } .article-hero--tablet .article-hero__content { padding: 60px 15px 0; } .article-hero__content { margin: auto; max-width: 1004px; pointer-events: none; position: relative; z-index: 1; } .article-hero--desktop { height: 573px; } .article-hero--desktop .article-hero__content { padding: 50px 30px 0; } .article-hero--large-desktop .article-hero__content { max-width: 1276px; } .article-hero--small-tablet .article-hero__content, .article-hero--mobile .article-hero__content, .article-hero--small-mobile .article-hero__content { padding: 60px 10px 0; } .article-hero--small-tablet .article-hero__content-title, .article-hero--mobile .article-hero__content-title, .article-hero--small-mobile .article-hero__content-title { font-size: 24px; line-height: 30px; max-width: 220px; } .article-hero--small-tablet .article-hero__content-line, .article-hero--mobile .article-hero__content-line, .article-hero--small-mobile .article-hero__content-line { margin-bottom: 16px; margin-top: 16px; } .article-hero--small-tablet .article-hero__content-labels, .article-hero--mobile .article-hero__content-labels, .article-hero--small-mobile .article-hero__content-labels { margin-bottom: 15px; } .article-hero--small-tablet .article-hero__content-cta, .article-hero--mobile .article-hero__content-cta, .article-hero--small-mobile .article-hero__content-cta { line-height: 22px; } .article-hero--small-tablet .article-hero__content-cta a, .article-hero--mobile .article-hero__content-cta a, .article-hero--small-mobile .article-hero__content-cta a { letter-spacing: 3px; } .article-hero__ambient-hidden { display: none; } .article-hero__background-ambient { bottom: 0; left: 0; position: absolute; right: 0; top: 0; z-index: -1; } .article-hero__background::after { background-image: linear-gradient(-63deg, rgba(0, 0, 0, 0) 0%, rgba(0, 0, 0, 0.06) 24%, rgba(0, 0, 0, 0.2) 51%, rgba(0, 0, 0, 0.32) 67%, rgba(0, 0, 0, 0.51) 100%); content: ''; height: 100%; left: 0; pointer-events: none; position: absolute; top: 0; width: 100%; } .article-hero__background img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .article-hero__background--parallax img { -webkit-transform: scale(1.1); transform: scale(1.1); } .article-hero a { color: #fff; letter-spacing: 3px; text-decoration: none; } .article-hero__content-cta { clear: both; font-size: 16px; font-weight: 400; letter-spacing: 4px; line-height: 20px; max-width: 170px; pointer-events: all; text-shadow: 0 2px 4px rgba(0, 0, 0, 0.5); text-transform: uppercase; } .article-hero__content-cta a { display: -ms-flexbox; display: flex; letter-spacing: 4px; } .article-hero__content-labels { font-size: 12px; letter-spacing: 1px; line-height: 16px; margin-bottom: 20px; pointer-events: all; } .article-hero__content-line { background-color: #fff; border: 0; display: block; float: left; height: 1px; margin-bottom: 18px; margin-right: 300px; margin-top: 25px; width: 120px; } .article-hero__content-right-arrow { position: relative; } .article-hero__content-right-arrow::before { background: #fff; content: ''; height: 2px; left: 5px; margin-top: -1px; opacity: 0.4; position: absolute; top: 50%; -webkit-transition: all 0.3s ease; transition: all 0.3s ease; width: 20px; } .article-hero__content-right-arrow::after { border-right: 2px solid #fff; border-top: 2px solid #fff; content: ''; display: inline-block; height: 10px; left: 16px; margin-top: 5px; opacity: 0.4; position: absolute; -webkit-transform: rotate(45deg); transform: rotate(45deg); width: 10px; } .article-hero__content-right-arrow--small::before { opacity: 1; } .article-hero__content-right-arrow--small::after { margin-top: 6px; opacity: 1; } .article-hero__content-right-arrow img { height: 11px; margin-left: 10px; width: 19px; } .article-hero__content-title { color: #fff; font-size: 50px; line-height: 54px; margin-top: 0; max-width: 450px; pointer-events: all; text-shadow: 0 1px 2px rgba(51, 51, 51, 0.7); } .article-hero__content-title a { letter-spacing: -1.32px; } .article-hero__title-text { display: inline; } .article-hero__content-title > a:hover > div, .article-hero__content-subtitle > a:hover { background-image: -webkit-gradient(linear, left top, right top, color-stop(100%, currentColor), color-stop(0%, transparent)); background-image: linear-gradient(to right, currentColor 100%, transparent 0%); background-position: 0 1.15em; background-repeat: repeat-x; background-size: 100% 2px; } .article-hero__content-subtitle { clear: both; color: #fff; font-size: 23px; font-weight: 500; line-height: 32px; margin-bottom: 16px; margin-top: 0; max-width: 440px; pointer-events: all; text-shadow: 0 1px 2px rgba(51, 51, 51, 0.5); } .article-hero__content-subtitle a { letter-spacing: -1px; } .article-hero__content-title--small { font-size: 30px; line-height: 35px; } .article-hero__content-title--tablet { clear: both; font-size: 32px; letter-spacing: -0.84px; line-height: 42px; max-width: 264px; } .article-hero__content-title--small a { letter-spacing: -0.63px; } .article-hero__down-arrow { background-color: transparent; border: 0; bottom: 0; color: #fff; cursor: pointer; display: inline-block; left: calc(50% - 29px); margin: 0; margin-bottom: 15px; padding: 0; position: absolute; -webkit-transform: scale(0.5); transform: scale(0.5); } .see-more-button-container { color: #fff; } /* stylelint-disable */ @media screen and (min-width: 1000px) { .similar-articles-story { max-width: 900px; } } @media screen and (min-width: 601px) and (max-width: 999px) { .similar-articles-story { max-width: 600px; } } @media screen and (max-width: 600px) { .similar-articles-story { max-width: 300px; } } .related-articles { position: relative; } .related-articles__header { text-align: center; background-color: #000; color: #fff; font-size: 14px; font-weight: normal; letter-spacing: 3px; margin: 0 0 20px; padding: 8px; text-transform: uppercase; } .related-articles__header--bright { margin: 20px 0 1.15ex; font-size: 13px; background-color: #d8d8d8; color: rgba(0, 0, 0, 0.7); letter-spacing: 2px; line-height: 3; } .related-articles__list { list-style: none; padding: 0 0 1.5ex 0; margin: 0; display: -ms-flexbox; display: flex; -ms-flex-flow: row wrap; flex-flow: row wrap; /* .with-numbers */ } .related-articles__list li { -ms-flex-preferred-size: 100%; flex-basis: 100%; display: -ms-flexbox; display: flex; -ms-flex-flow: row nowrap; flex-flow: row nowrap; -ms-flex-pack: start; justify-content: flex-start; -ms-flex-align: stretch; align-items: stretch; -ms-flex-line-pack: stretch; align-content: stretch; } .related-articles__list li > div { -ms-flex: 1 1; flex: 1 1; } .related-articles__list.with-numbers { counter-reset: related-numbers; list-style-image: url(data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7); margin: 0 35px; } .related-articles__list.with-numbers li::before { counter-increment: related-numbers; content: counter(related-numbers); font-weight: bold; font-size: 40px; -ms-flex-item-align: end; align-self: flex-end; line-height: 1.85; font-style: italic; letter-spacing: 0; color: rgba(0, 0, 0, 0.18); -ms-flex: 0.1 0.1; flex: 0.1 0.1; -ms-flex-preferred-size: 1ex; flex-basis: 1ex; padding-right: 1ex; text-align: center; display: block; } .related-articles__list.with-numbers li { margin-bottom: 10px; } .related-articles--wide-layout { background-color: initial; margin-top: 20px; } ul.related-articles__list:not(.list-wide) li { max-width: 100%; } ul.related-articles__list:not(.list-wide).with-borders li:not(:last-of-type) { border-bottom: 1px solid rgba(0, 0, 0, 0.1); } ul.related-articles__list.list-wide li { max-width: 49.8%; } ul.related-articles__list.list-wide.with-borders li { border-bottom: 1px solid rgba(0, 0, 0, 0.1); } .related-article { -ms-flex-align: stretch; align-items: stretch; display: -ms-flexbox; display: flex; -ms-flex-flow: row nowrap; flex-flow: row nowrap; -webkit-box-sizing: border-box; box-sizing: border-box; font-size: 16px; min-height: 90px; } .related-article__image { width: calc(90px + 0.5ex); -ms-flex: 0.3 0.3; flex: 0.3 0.3; min-width: 90px; max-width: calc(90px + 0.5ex); margin: 0; display: block; line-height: 0; -ms-flex-order: -1; order: -1; } .related-article__image img { width: 100%; border: 0; margin: 0 12px 0 0; } .related-article__text { display: -ms-flexbox; display: flex; -ms-flex-flow: column nowrap; flex-flow: column nowrap; width: 100%; -ms-flex-pack: start; justify-content: flex-start; -ms-flex-line-pack: start; align-content: flex-start; position: relative; padding: 12px 6px 12px 0; line-height: 1.5; } .related-article__text a { width: 100%; padding-left: 12px; display: -ms-flexbox; display: flex; text-decoration: none; } .related-article__text a + a { margin-top: 1ex; } .related-article__text br { display: none; } .related-article__title { color: rgba(46, 46, 46, 0.85); letter-spacing: -0.01em; -ms-flex: 1 1; flex: 1 1; } .related-article__title:hover { color: #2e2e2e; } .related-article__collection { display: block; color: #4a4a4a; font-size: 12px; font-weight: bold; letter-spacing: 2.5px; line-height: 1.2; text-decoration: none; text-transform: uppercase; } .related-article__collection span { display: none; } .related-articles__list.square-images .related-article { margin: 0.75ex 0; } .related-articles__list.square-images .related-article:hover { background-color: #f9f9f9; } .related-articles__list.square-images.list-wide .related-article { margin: 1.25ex 1.75ex; } .related-articles__list.round-images a:hover { color: #000; } .related-articles__list.round-images .related-article { margin: 1.25ex 1.75ex; } .related-articles__list.round-images .related-article__title { padding-left: 10px; } .related-articles__list.round-images .related-article__image { width: calc(90px + 15px); max-width: calc(90px + 15px); margin: 0; } .related-articles__list.round-images .related-article__image img { border-radius: 50%; } .related-articles__list.round-images.list-wide .related-article { margin: 1.75ex 1.75ex; } .vertical-story-card-item { cursor: pointer; font-family: 'ReithSans'; height: 456px; margin: 20px 10px; position: relative; width: 297px; } @media only screen and (max-width: 1007px) { .vertical-story-card-item { width: 276px; } } @media only screen and (max-width: 600px) { .vertical-story-card-item { width: 276px; } } .vertical-story-card-item img { width: 100%; } .vertical-story-card-item__content-box { background-color: #fff; bottom: 0; -webkit-box-shadow: 0 0 5px #d8d8d8; box-shadow: 0 0 5px #d8d8d8; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 111px; -ms-flex-pack: center; justify-content: center; position: absolute; right: 0; width: 275px; } @media only screen and (max-width: 1007px) { .vertical-story-card-item__content-box { width: 261px; } } .vertical-story-card-item__content-box h1 { color: #4a4a4a; font-size: 0.75rem; font-weight: bold; letter-spacing: 3px; margin: 0; padding: 0 10px; text-transform: uppercase; } .vertical-story-card-item__content-box h2 { color: #3d3d3d; font-size: 1.3125rem; font-weight: lighter; letter-spacing: -0.06px; line-height: 42px; margin: 0; padding: 0 10px; } /* stylelint-disable property-no-unknown */ .see-more-button { border-bottom: 1px solid #979797; text-align: center; } .see-more-button__inner { background-color: transparent; border: 0; color: #6c6c6c; cursor: pointer; font-size: 14px; letter-spacing: 2.92px; line-height: 19px; margin-bottom: 13px; position: relative; text-transform: uppercase; -webkit-transition: linear 0.6s; transition: linear 0.6s; } .see-more-button__inner-arrow { color: #6c6c6c; font-size: 10px; position: absolute; right: 9px; top: 2px; -webkit-transition: linear 0.3s; transition: linear 0.3s; } .see-more-button__inner-text { margin-right: 24px; } .see-more-button__inner:hover { color: #4a4a4a; } .see-more-button__inner:hover .see-more-button__inner-arrow { color: #4a4a4a; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .vertical-story-group { font-family: 'ReithSans'; position: relative; } .vertical-story-group img { -o-object-fit: cover; object-fit: cover; width: 100%; } .vertical-story-group__image-container { height: 370px; position: relative; width: 100%; } .vertical-story-group__image-container img { height: 100%; } .vertical-story-group__image-mask { background: -webkit-gradient(linear, left top, right top, from(rgba(0, 0, 0, 0.6)), to(rgba(0, 0, 0, 0))); background: linear-gradient(to right, rgba(0, 0, 0, 0.6), rgba(0, 0, 0, 0)); bottom: 0; left: 0; position: absolute; right: 0; top: 0; } .vertical-story-group__heading-container { color: #fff; left: 50%; position: absolute; text-align: center; top: 80px; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); } @media only screen and (max-width: 599px) { .vertical-story-group__heading-container { top: 120px; } } .vertical-story-group__heading-container button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; } .vertical-story-group__heading-container h1 { font-size: 0.9rem; font-weight: bold; letter-spacing: 3.6px; margin-bottom: 20px; } .vertical-story-group__heading-container h2 { font-size: 2.1rem; font-weight: lighter; letter-spacing: -0.25px; line-height: 42px; } .vertical-story-group__heading-container-landscape { display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; left: 0; margin-left: auto; margin-right: auto; position: absolute; right: 0; top: 65px; width: 70%; } @media only screen and (max-width: 599px) { .vertical-story-group__heading-container-landscape { -ms-flex-align: center; align-items: center; -ms-flex-direction: column; flex-direction: column; } } .vertical-story-group__heading-container-landscape h1 { color: #fff; font-size: 2.25rem; font-weight: lighter; letter-spacing: 0.95px; margin: 0; } .vertical-story-group__heading-container-landscape button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; height: 60px; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; width: 260px; } @media only screen and (max-width: 599px) { .vertical-story-group__heading-container-landscape button { margin-top: 50px; } } .vertical-story-group__container { display: -ms-grid; display: grid; grid-auto-rows: minmax(auto, auto); grid-template-columns: repeat(auto-fit, minmax(290px, 310px)); height: 100%; -ms-flex-pack: center; justify-content: center; justify-items: center; margin-top: -210px; width: 100%; } @media only screen and (max-width: 599px) { .vertical-story-group__container { margin-top: -120px; } } /* stylelint-disable property-no-unknown */ .mapContainer .mapTitle { background: transparent; color: #fff; display: block; font-family: 'curiousSans-Bold', Arial, sans-serif; font-size: 0.9rem; font-weight: bold; letter-spacing: 3.6px; line-height: 1.1875em; margin-top: 2%; min-width: 25%; padding: 2%; padding-bottom: 0.375em; padding-left: 8px; padding-right: 16px; padding-top: 0.375em; position: relative; text-align: center; z-index: 100; } @media only screen and (max-width: 600px) { .mapContainer .mapTitle { font-size: 2.4em; } } .mapContainer .styled-line { margin-left: auto; margin-right: auto; } .mapContainer button { background-color: rgba(255, 255, 255, 0.9); border: 0; -webkit-box-sizing: border-box; box-sizing: border-box; cursor: pointer; display: block; height: 60px; outline: none; padding: 2px; width: 60px; } .mapContainer button .gelicon { color: #589e50; font-size: 2.5em; vertical-align: middle; } .mapContainer button:hover { background-color: #f2f2f2; } @media only screen and (max-width: 600px) { .mapContainer button { height: 50px; width: 50px; } .mapContainer button .gelicon { font-size: 2em; } } .mapContainer .navigationPanel { -ms-flex-align: end; align-items: flex-end; bottom: 0; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; left: 50%; max-width: 1200px; padding: 10px; position: absolute; -webkit-transform: translate(-50%, 0); transform: translate(-50%, 0); width: 100%; } .mapContainer .zoomControls { background-color: #fff; } .mapContainer .mapboxgl-popup-content { border-radius: 0; -webkit-box-shadow: 0 3px 0 0 rgba(0, 0, 0, 0.1) !important; box-shadow: 0 3px 0 0 rgba(0, 0, 0, 0.1) !important; cursor: default; font-family: 'curiousSans-Bold', Arial, sans-serif; max-width: 300px; padding: 0 !important; text-align: left; } .mapContainer .mapboxgl-popup-content img { width: 300px; } @media only screen and (max-width: 600px) { .mapContainer .mapboxgl-popup-content { max-width: 190px; } .mapContainer .mapboxgl-popup-content img { width: 190px; } } .mapContainer .mapboxgl-ctrl-logo { display: none !important; } .mapContainer .map-marker svg { -webkit-transition: all 0.1s ease-out; transition: all 0.1s ease-out; } @media only screen and (max-width: 600px) { .mapContainer .map-marker svg { height: 52px; -webkit-transform: scale(0.75); transform: scale(0.75); } } .mapContainer .map-marker-active svg { -webkit-transform: scale(1.3); transform: scale(1.3); } @media only screen and (max-width: 600px) { .mapContainer .map-marker-active svg { height: 52px; -webkit-transform: scale(1); transform: scale(1); } } .mapContainer__articleInfo { padding: 0 18px; } .mapContainer__articleInfo .article-vertical a { color: #4a4a4a; display: block; font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 16px; margin-right: auto; margin-top: 20px; text-decoration: none; text-transform: uppercase; } .mapContainer__articleInfo .article-title { font-size: 18px; letter-spacing: -0.21px; line-height: 30px; margin: 0.725em 0; } .mapContainer__articleInfo .article-title a { color: rgba(46, 46, 46, 0.85); text-decoration: none; } @media only screen and (max-width: 600px) { .mapContainer__articleInfo .article-title { font-size: 1.7em; } } .mapContainer__articleInfo .article-author { color: #4a4a4a; display: block; font-size: 14px; font-style: italic; letter-spacing: 0.1px; line-height: 35px; margin: 1.45em 0; text-decoration: none; } .location-header { font-size: 14px; letter-spacing: 2.92px; line-height: 19px; text-transform: uppercase; } .temperature-switcher { background: transparent; border: 0; cursor: pointer; font-size: 14px; font-style: italic; font-weight: 300; white-space: nowrap; } .temperature-switcher:active { color: currentColor; } .temperature-switcher__active { font-weight: bold; } .temperature-switcher span { margin: 0 0.2ex; } .day { --w-day-font-size: 14px; --w-day-temp-font-size: 20px; --w-day-temp-font-size-big: 32px; --w-day-temp-font-weight: 600; --w-day-name-font-weight: 500; -ms-flex-align: center; align-items: center; color: #959595; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; font-size: var(--w-day-font-size); } .day--desktop { --w-day-temp-font-size: 24px; --w-day-temp-font-weight: normal; --w-day-name-font-weight: 600; } .day:first-of-type { color: #4b4b4b; } .day__name { font-weight: var(--w-day-name-font-weight); line-height: 1; margin-bottom: 0.75em; text-transform: uppercase; } .day__symbol-header { display: block; height: 80px; margin: 7px 0 5px; width: 98px; } .day__symbol { display: block; height: 40px; margin: 7px 0 5px; width: 50px; } .day--desktop .day__symbol { height: 60px; margin-top: 15px; width: 70px; } .day__temp { font-size: var(--w-day-temp-font-size); font-weight: var(--w-day-temp-font-weight); line-height: 1.2; margin-top: 0.75em; text-transform: lowercase; } .day__temp--header { color: #4b4b4b; font-size: 32px; font-weight: bold; } .day--mobile:first-of-type { display: -ms-flexbox; display: flex; -ms-flex-flow: row wrap; flex-flow: row wrap; -ms-flex-pack: center; justify-content: center; margin-bottom: 3em; } .day--mobile:first-of-type .day__symbol { height: 60px; margin-right: 10px; overflow: visible; width: 80px; } .day--mobile:first-of-type .day__temp { font-size: var(--w-day-temp-font-size-big); font-weight: bold; margin-top: 0; } .day--mobile:first-of-type .day__location { font-size: 120%; font-weight: 500; margin: 1em 0; } .day--mobile:first-of-type .day__name { color: #959595; } .day--mobile:first-of-type .day__location, .day--mobile:first-of-type .day__name { text-align: center; width: 100%; } .weather { --w-height: 50px; --w-wrapper-margin: 24px; --w-days-flexbasis: 33%; margin-bottom: 2rem; } .weather--desktop { --w-height: 80px; --w-wrapper-margin: 50px; --w-days-flexbasis: initial; margin-bottom: 1rem; } .weather:not(.weather--desktop) .weather__days { -ms-flex-flow: row wrap; flex-flow: row wrap; } .weather:not(.weather--desktop) .day:first-of-type { -ms-flex-preferred-size: 100%; flex-basis: 100%; width: auto; } .weather__separator { border-right: 1px solid #dcdcdc; display: block; height: var(--w-height); } .weather__days { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-preferred-size: var(--w-days-flexbasis); flex-basis: var(--w-days-flexbasis); -ms-flex-pack: space-evenly; justify-content: space-evenly; margin-top: 2.5rem; } .weather__days--desktop { margin-top: 4rem; } .weather__header { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-flow: column; flex-flow: column; -ms-flex-pack: center; justify-content: center; margin-bottom: var(--w-wrapper-margin); } .weather__header button { margin-top: 1.5rem; } .weather__header--desktop { /* position the temperature switcher on desktop */ position: relative; } .weather__header--desktop button { margin: 0; position: absolute; right: 0; } /* stylelint-disable property-no-unknown */ .beta-btn { background-color: #e6711b; color: #fff; cursor: pointer; height: 25px; line-height: 12px; padding: 0 7px; width: 66px; } .beta-btn:hover .beta-btn__arrow { cursor: pointer; -webkit-transform: rotate(45deg); transform: rotate(45deg); } .beta-btn:hover .beta-btn__arrow--expanded { -webkit-transform: rotate(-35deg); transform: rotate(-35deg); } .beta-btn__copy { color: #444; display: block; font-size: 12px; letter-spacing: 0; line-height: 17px; margin: 16px auto; max-width: 50%; } .beta-btn__arrow { border: solid #fff; border-width: 0 2px 2px 0; display: inline-block; padding: 3px; position: relative; top: -1px; -webkit-transform: rotate(-45deg); transform: rotate(-45deg); -webkit-transition: 0.4s; transition: 0.4s; } .beta-btn__arrow--expanded { -webkit-transform: rotate(45deg); transform: rotate(45deg); } .image-card { position: relative; } .image-card img { -o-object-fit: cover; object-fit: cover; width: 100%; } .image-card__heading-container { color: #fff; left: 50%; position: absolute; text-align: center; top: 80px; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); } .image-card__heading-container button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; } .image-card__heading-container h1 { font-size: 0.9rem; font-weight: bold; letter-spacing: 3.6px; margin-top: 0; } .image-card__heading-container h2 { font-size: 2.1rem; font-weight: lighter; letter-spacing: -0.25px; line-height: 42px; margin-top: 0; } .image-card__heading-container-landscape { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; left: 50%; position: absolute; text-align: center; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); width: 90%; } .image-card__heading-container-landscape__mobile { -ms-flex-align: center; align-items: center; -ms-flex-direction: column; flex-direction: column; } .image-card__heading-container-landscape h1 { color: #fff; font-size: 2.25rem; font-weight: lighter; letter-spacing: 0.95px; margin-top: 0; } .image-card__heading-container-landscape button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; height: 60px; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; width: 260px; } .destination-header { width: 100%; } .destination-header__container { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; min-height: 380px; overflow: hidden; padding: 0 16px; position: relative; } .destination-header__image { height: 100%; overflow: hidden; position: absolute; width: 100%; } .destination-header__image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .destination-header__text { color: #fff; font-size: 28px; letter-spacing: -0.95px; line-height: 37.4px; max-width: 488px; padding: 0 20px; position: relative; text-align: center; text-transform: uppercase; width: 100%; } .destination-header__text a { color: #fff; font-weight: 300; text-decoration: none; } .destination-header__text--desktop { font-size: 36px; } .destination-header__text-container { border-bottom: solid 1px #fff; display: inline-block; line-height: 1.3; padding-bottom: 17px; } .destination-header__text-container--desktop { padding-bottom: 0.75ex; } .destination-header__link-page, .destination-header__advert { color: #fff; font-size: 12px; letter-spacing: 0.5px; margin-top: 20px; position: relative; text-align: center; } .destination-header__link-page span, .destination-header__advert span { display: block; width: 100%; } .destination-header__link-page--desktop, .destination-header__advert--desktop { margin-top: 40px; } .destination-header__link-page { left: 14px; margin: 0; position: absolute; text-transform: uppercase; top: 20px; } .destination-header__link-page--desktop { left: 25px; top: 36px; } .destination-header__background { background-image: radial-gradient(50% 49%, rgba(5, 36, 53, 0.37) 50%, rgba(0, 0, 0, 0) 83%); height: 100%; pointer-events: none; position: absolute; top: 0; width: 100%; } .destination-header a { color: #fff; text-decoration: none; } .filter { display: inline-block; max-width: 160px; position: relative; } .filter__button { background-color: #000; border: 0; color: #fff; font-size: 16px; padding: 16px; width: 160px; } .filter__content { background-color: #000; display: none; position: absolute; width: 160px; z-index: 1; } .filter:focus .filter__content, .filter:hover .filter__content { display: block; } .filter__content--open { display: block; } .filter__content button { background-color: #000; border: 0; color: #fff; cursor: pointer; display: block; font-style: italic; padding: 12px 16px; text-decoration: none; width: 100%; } .filter__content button:hover { background-color: #494848; } .callout-box-card { background-color: #eaeaea; color: #4a4a4a; margin-left: auto; margin-right: auto; text-align: left; } .callout-box-card img { height: 100%; width: 100%; } .callout-box-card__container { padding: 0.2rem 1.5rem; } .callout-box-card__container h3 { font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 16px; margin: 1rem 0; text-transform: uppercase; } .callout-box-card__container h4 { font-size: 28px; font-weight: lighter; letter-spacing: -0.21px; line-height: 35px; } .callout-box-card__container .body { font-size: 16px; font-weight: lighter; letter-spacing: -0.12px; line-height: 31px; } .callout-box-card__container .body a { color: #4a4a4a; font-weight: bold; text-decoration: none; } /* stylelint-disable property-no-unknown */ .see-more-button { border-bottom: 1px solid #979797; text-align: center; } .see-more-button-inner { background-color: transparent; border: 0; color: #6c6c6c; cursor: pointer; font-size: 14px; letter-spacing: 2.92px; line-height: 19px; margin-bottom: 13px; position: relative; text-transform: uppercase; } .see-more-button-inner--light { color: #b4b4b4; } .see-more-button-inner__arrow { color: #6c6c6c; font-size: 10px; position: absolute; right: 9px; top: 2px; } .see-more-button-inner__arrow--light { color: #b4b4b4; } .see-more-button-inner__text { margin-right: 24px; } /* stylelint-disable property-no-unknown */ .load-more-button { -webkit-box-sizing: border-box; box-sizing: border-box; } .load-more-button__refresh.gelicon--refresh { margin-right: 16px; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .load-more-button__downarrow { color: #adadad; font-size: 22px; -webkit-transition: 0.6s; transition: 0.6s; } .load-more-button__loading .load-more-button__refresh.gelicon--refresh { -webkit-animation: spin 2s linear infinite; animation: spin 2s linear infinite; } .load-more-button__downarrow:first-of-type { padding-right: 16px; } .load-more-button__downarrow:not(:first-of-type) { padding-left: 16px; } @-webkit-keyframes spin { 0% { -webkit-transform: rotate(90deg); transform: rotate(90deg); } 100% { -webkit-transform: rotate(-270deg); transform: rotate(-270deg); } } @keyframes spin { 0% { -webkit-transform: rotate(90deg); transform: rotate(90deg); } 100% { -webkit-transform: rotate(-270deg); transform: rotate(-270deg); } } /* stylelint-disable property-no-unknown */ .basic-button { -ms-flex-align: center; align-items: center; background-color: #fff; border: 1px solid #adadad; border-radius: 4px; -webkit-box-shadow: inset 0 0 0 0 #fff, 0 2px 0 0 rgba(0, 0, 0, 0.08); box-shadow: inset 0 0 0 0 #fff, 0 2px 0 0 rgba(0, 0, 0, 0.08); color: #193e6d; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 20px; height: 54px; -ms-flex-pack: center; justify-content: center; min-width: 222px; text-align: center; -webkit-transition: 0.6s; transition: 0.6s; } .basic-button--worklife { color: #0052a1; } .basic-button--future { color: #002856; } .basic-button--culture { color: #472479; } .basic-button--earth { color: #0fbb56; } .basic-button--travel { color: #589e50; } .basic-button__text { color: #444; font-family: 'BBC Reith Sans Cd'; font-size: 18px; line-height: 24px; -webkit-transition: 0.6s; transition: 0.6s; } .basic-button__text--white { color: #fff; } .basic-button__text--curious { font-family: 'CuriousSansBold'; } .basic-button__text--worklife { color: #0052a1; } .basic-button__text--future { color: #002856; } .basic-button__text--culture { color: #472479; } .basic-button__text--earth { color: #0fbb56; } .basic-button__text--travel { color: #589e50; } .basic-button::before { padding-right: 16px; } .basic-button:hover { background-color: #dedede; } .basic-button--background-light-blue:hover { background-color: #dfe8ff; } .basic-button--background-worklife { background-color: #0052a1; } .basic-button--background-future { background-color: #002856; } .basic-button--background-culture { background-color: #472479; } .basic-button--background-earth { background-color: #0fbb56; } .basic-button--background-travel { background-color: #589e50; } .basic-button--background-worklife:hover { background-color: #4494e4; } .basic-button--background-future:hover { background-color: #ffc857; } .basic-button--background-culture:hover { background-color: #472479; } .basic-button--background-earth:hover { background-color: #002856; } .basic-button--background-travel:hover { background-color: #002856; } .basic-button__text--bold { font-weight: bold; } /* stylelint-disable property-no-unknown */ .read-more-button { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; font-weight: bold; position: relative; width: 224px; } /* stylelint-disable property-no-unknown */ .AdFrame { display: -ms-inline-flexbox; display: inline-flex; } .AdFrame--default { background-color: #f6f6f6; } .AdFrame--dark-grey { background-color: rgba(26, 26, 26, 0.8); } .AdFrame--centre-aligned { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; } /* stylelint-disable property-no-unknown */ .text-with-styled-background { height: inherit; position: relative; width: 100%; } .text-with-styled-background--collection { display: inline-block; width: unset; } .text-with-styled-background--center-align { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .text-with-styled-background__text { font-family: 'CuriousSansBold'; color: #444; display: block; font-size: 20px; line-height: 24px; padding: 0 0 0 10px; position: relative; } .text-with-styled-background__text--large { font-size: 26px; line-height: 30px; padding: 0 0 0 24px; } .text-with-styled-background__text--medium { font-size: 22px; line-height: 28px; } .text-with-styled-background__text--remove-padding { padding: 0; width: 100%; } .text-with-styled-background__text--largest { font-size: 38px; line-height: 47px; } .text-with-styled-background__text--worklife { color: #0052a1; } .text-with-styled-background__text--future { color: #002856; } .text-with-styled-background__text--culture { color: #472479; } .text-with-styled-background__text--earth { color: #0fbb56; } .text-with-styled-background__text--travel { color: #589e50; } .text-with-styled-background__text--blue { color: #0052a1; } .text-with-styled-background__text--collection { font-size: 28px; line-height: 34px; padding: 0; } .text-with-styled-background__text--collection--medium { font-size: 32px; line-height: 38px; } .text-with-styled-background__text--collection--large { font-size: 38px; line-height: 47px; } .text-with-styled-background__line-container { bottom: 0; margin-left: 13px; position: absolute; width: calc(100% - 26px); } .text-with-styled-background__line { background-color: rgba(25, 62, 109, 0.05); height: 26px; max-width: 240px; position: relative; } .text-with-styled-background__line--large { bottom: -10px; height: 42px; max-width: 340px; } .text-with-styled-background__line--narrow { height: 26px; max-width: 100%; } .text-with-styled-background__line--medium { bottom: -10px; height: 36px; max-width: 340px; } .text-with-styled-background__line--largest { max-width: 100%; } .text-with-styled-background__line-container--collection { width: calc(100% + 26px); } .text-with-styled-background__line-container--no-margin { margin: 0; } .text-with-styled-background__line--collection { height: 26px; } /* stylelint-disable property-no-unknown */ .previous-media-button { -ms-flex-align: center; align-items: center; background-color: #000; border: 0; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 16px; height: 50px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; } .previous-media-button__icon--white svg { fill: #fff; } .previous-media-button span { height: 18px; width: 16px; } /* stylelint-disable property-no-unknown */ .simple-header { color: #444; font-size: 18px; font-weight: bold; line-height: 24px; margin: 0; } .simple-header--large { font-size: 28px; line-height: 34px; } .simple-header--simple { font-size: 18px; line-height: 22px; } .simple-header--small { font-size: 18px; letter-spacing: -0.5px; line-height: 28px; } .simple-header--smallest { font-family: Helvetica; font-size: 14px; line-height: 24px; } .simple-header--medium { font-size: 24px; line-height: 28px; } .simple-header--regular { font-size: 22px; line-height: 28px; } .simple-header--condensed-bold { font-stretch: condensed; } .simple-header--condensed-bold.simple-header--large { line-height: 37px; } .simple-header--condensed-bold.simple-header--regular { line-height: 28px; } .simple-header--white { color: #fff; } /* stylelint-disable property-no-unknown */ .play-button__inline-audio, .play-button__inline-video { -ms-flex-align: center; align-items: center; background-color: #000; border: 0; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 16px; height: 49px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 49px; } .play-button__inline-audio .gelicon--play, .play-button__inline-video .gelicon--play { color: #ececec; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; } .play-button__inline-audio--worklife .gelicon--play, .play-button__inline-video--worklife .gelicon--play { color: #8beed9; } .play-button__inline-audio--travel .gelicon--play, .play-button__inline-video--travel .gelicon--play { color: #002856; } .play-button__inline-audio--future .gelicon--play, .play-button__inline-video--future .gelicon--play { color: #ffc857; } .play-button__inline-audio--culture .gelicon--play, .play-button__inline-video--culture .gelicon--play { color: #472479; } .play-button__inline-audio--earth .gelicon--play, .play-button__inline-video--earth .gelicon--play { color: #002856; } .play-button__inline-video:hover { background-color: #ececec; } .play-button__inline-video:hover .gelicon--play { color: #000; } .play-button__inline-audio { color: #fff; font-size: 22px; height: 50px; padding: 0; width: 50px; } .play-button { -ms-flex-align: center; align-items: center; background-color: rgba(0, 0, 0, 0.2); border: 2px solid #5ae9cb; border-radius: 50%; -webkit-box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 22px; height: 80px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 80px; } .play-button:hover { color: #5ae9cb; } .play-button--white { border: 4px solid #fff; } .play-button--white:hover { color: #fff; } .play-button--white .gelicon--play { color: inherit; } .play-button--worklife { border: 2px solid #8beed9; } .play-button--worklife:hover { color: #8beed9; } .play-button--travel { border: 2px solid #002856; } .play-button--travel:hover { color: #002856; } .play-button--future { border: 2px solid #ffc857; } .play-button--future:hover { color: #ffc857; } .play-button--culture { border: 2px solid #472479; } .play-button--culture:hover { color: #472479; } .play-button--earth { border: 2px solid #002856; } .play-button--earth:hover { color: #002856; } .play-button--desktop { font-size: 30px; height: 76px; width: 76px; } .play-button--background-hover:hover { background-color: rgba(0, 0, 0, 0.6); } /* stylelint-disable property-no-unknown */ .error-button { -ms-flex-align: center; align-items: center; background-color: #000; border: 0; display: -ms-flexbox; display: flex; font-size: 22px; height: 50px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; } .error-button .gelicon--alert { color: #ececec; } /* stylelint-disable property-no-unknown */ .simple-p-tag { color: #444; font-size: 18px; font-weight: bold; line-height: 24px; margin: 0; } .simple-p-tag--large { font-size: 28px; line-height: 34px; } .simple-p-tag--medium { font-size: 27px; letter-spacing: -1.69px; line-height: 32px; } .simple-p-tag--quote { color: #575757; } .simple-header--serif-light-italic { font-style: italic; line-height: inherit; } /* stylelint-disable property-no-unknown */ .text-summary__text { font-size: 16px; line-height: 24px; margin: 0; text-align: left; } .text-summary__text--blue { color: #193e6d; } .text-summary__text--black { color: #000; } .text-summary__text--grey { color: #6a6a6a; } .text-summary__text--dark-grey { color: #444; } .text-summary__text--left { text-align: left; } .text-summary__text--right { text-align: right; } .screen-reader-only { border: 0; clip: rect(1px, 1px, 1px, 1px); -webkit-clip-path: inset(50%); clip-path: inset(50%); height: 1px; margin: -1px; overflow: hidden; padding: 0; position: absolute !important; width: 1px; word-wrap: normal !important; } .inline-html { display: block; } /* stylelint-disable property-no-unknown */ .drop-capped { -ms-flex-align: center; align-items: center; border: 2px solid #444; color: #444; display: -ms-flexbox; display: flex; float: left; font-size: 58px; font-weight: bold; height: 84px; -ms-flex-pack: center; justify-content: center; margin: 8px 10px 4px 0; text-transform: uppercase; width: 84px; } .drop-capped--worklife { border-color: #8beed9; } .drop-capped--future { border-color: #ffc857; } .drop-capped--culture { border-color: #444; } .drop-capped--earth { border-color: #002856; } .drop-capped--travel { border-color: #002856; } .drop-capped--desktop { margin-right: 24px; } /* stylelint-disable property-no-unknown */ .close-nav { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; position: relative; -webkit-transition: 0.4s; transition: 0.4s; } .close-nav__icon { color: #fff; display: -ms-flexbox; display: flex; font-size: 20px; -webkit-transition: 0.4s; transition: 0.4s; } .close-nav:hover .close-nav__icon { color: #cecece; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .close-nav__label { display: inline-block; margin-right: 12px; } /* stylelint-disable property-no-unknown */ .nav-label { color: #4e4e4e; font-size: 16px; line-height: 22px; margin: auto; max-width: 1280px; -webkit-transition: 0.4s; transition: 0.4s; } .nav-label:hover { color: #8e8e8e; } .nav-label--menu { color: #ebebeb; } .nav-label--menu:hover { color: #cecece; } .nav-label--white { color: #fff; } .nav-label--curiousSans { font-family: 'CuriousSansBold'; } /* stylelint-disable property-no-unknown */ .nav-links__link { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: 100%; -ms-flex-pack: center; justify-content: center; padding-right: 24px; position: relative; text-decoration: none; white-space: nowrap; } .nav-links__link--active p { border-bottom: 2px solid #002856; font-weight: bold; } .nav-links__link--active--menu p { border-bottom: unset; } .nav-links__link--active--worklife p { border-bottom: 2px solid #0052a1; } .nav-links__link--active--culture p { border-bottom: 2px solid #472479; } .nav-links__link--active--earth p { border-bottom: 2px solid #0fbb56; } .nav-links__link--active--travel p { border-bottom: 2px solid #589e50; } .nav-links__icon { background-color: #0052a1; bottom: 10px; height: 2px; position: absolute; width: 80px; } .nav-links__link--menu { display: block; padding-right: unset; } .nav-links__icon--menu { display: none; } .nav-links__icon--menu-tablet { width: 60px; } .nav-links__icon--worklife { background-color: #0052a1; } .nav-links__icon--future { background-color: #002856; } .nav-links__icon--culture { background-color: #472479; } .nav-links__icon--earth { background-color: #0fbb56; } .nav-links__icon--travel { background-color: #589e50; } .nav-links__link--menu p { font-size: 26px; padding: 0 0 32px 24px; } .nav-links__link--menu-desktop p { font-size: 32px; line-height: 42px; padding: 0 0 44px 100px; } /* stylelint-disable property-no-unknown */ .burger-nav { background: transparent; border: 0; color: #0052a1; cursor: pointer; font-size: 20px; outline: none; padding: 0; } .burger-nav--worklife { color: #0052a1; } .burger-nav--future { color: #002856; } .burger-nav--culture { color: #472479; } .burger-nav--earth { color: #0fbb56; } .burger-nav--travel { color: #589e50; } .burger-nav--medium { font-size: 16px; } .burger-nav--small { font-size: 12px; } /* stylelint-disable property-no-unknown */ .nav-menu { background-color: #0052a1; display: block; height: 100%; left: 0; min-height: 100vh; opacity: 0.98; overflow: auto; position: fixed; top: 0; width: 100vw; } .nav-menu--worklife { background-color: #0052a1; } .nav-menu--future { background-color: #002856; } .nav-menu--culture { background-color: #472479; } .nav-menu--earth { background-color: #0fbb56; } .nav-menu--travel { background-color: #589e50; } .nav-menu__close-nav { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; margin: auto; max-width: 1280px; padding: 16px 8px 60px; } .nav-menu__close-nav--desktop { padding: 20px 16px 70px; } .nav-menu__sponsored { background-color: rgba(34, 34, 34, 0.5); height: 100%; margin-bottom: 32px; } .nav-menu__sponsored--desktop { margin-bottom: 44px; } .nav-menu__sponsored-container { padding: 20px 16px 16px 24px; } .nav-menu__sponsored--desktop-container { margin: auto; max-width: 1264px; padding: 20px 16px 20px 100px; } .nav-menu__follow-us { padding: 52px 0 34px; } /* stylelint-disable property-no-unknown */ .ad-slot { display: inline-block; } .ad-slot__container { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .ad-slot__label { max-width: 120px; min-width: 112px; padding-right: 8px; text-align: right; } .ad-slot--leaderboard { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; } .ad-slot__label--mpu, .ad-slot__label--leaderboard { margin-bottom: 8px; max-width: unset; padding-right: unset; text-align: right; } .ad-slot__container--mpu, .ad-slot__container--leaderboard { display: inline-block; -ms-flex-wrap: unset; flex-wrap: unset; } .ad-slot__fake--sponsor { background-color: #5ae9cb; height: 31px; min-width: 88px; } .ad-slot__fake--mpu { background-color: #5ae9cb; height: 250px; min-width: 300px; } .ad-slot__fake--mpu-large { background-color: #5ae9cb; height: 600px; min-width: 300px; } .ad-slot__fake--leaderboard-large { background-color: #5ae9cb; height: 90px; min-width: 728px; } .ad-slot__fake--leaderboard-medium { background-color: #5ae9cb; height: 50px; min-width: 320px; } .ad-slot__fake--leaderboard-small { background-color: #5ae9cb; height: 50px; min-width: 300px; } .ad-slot__label--dark { color: #dcdcdc; } .ad-slot--dark { background-color: #f6f6f6; padding: 8px; } .ad-slot--black { background-color: rgba(26, 26, 26, 0.8); padding: 8px; } .open-nav { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; -ms-flex-pack: end; justify-content: flex-end; padding: 0; position: relative; -webkit-transition: 0.4s; transition: 0.4s; } .open-nav__icon { display: -ms-flexbox; display: flex; } .open-nav__label { display: inline-block; margin-right: 12px; } .play-icon { background: transparent; border: 0; color: #fff; font-size: 12px; outline: none; padding: 0; } .play-icon--red { color: #f00; } .play-icon--grey { color: #999; } .play-icon--medium { font-size: 16px; } .play-icon--large { font-size: 20px; } .camera-icon { background: transparent; border: 0; color: #fff; font-size: 12px; outline: none; padding: 0; } .camera-icon--red { color: #f00; } .camera-icon--grey { color: #999; } .camera-icon--medium { font-size: 16px; } .camera-icon--large { font-size: 20px; } /* stylelint-disable property-no-unknown */ .nav-build-bar { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: auto; margin: auto; max-width: 1280px; width: 100%; } .nav-build-bar--mobile { height: auto; -ms-flex-pack: justify; justify-content: space-between; } .nav-build-bar--mobile .nav-build-bar__title-content { white-space: pre-wrap; } .nav-build-bar--tablet { height: 58px; } .nav-build-bar--desktop { height: 60px; } .nav-build-bar__links { display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; height: 100%; -ms-flex-pack: end; justify-content: flex-end; margin-left: auto; overflow: hidden; } .nav-build-bar__sponsored-brand { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; margin-left: 8px; text-decoration: none; white-space: nowrap; } .nav-build-bar__sponsored-brand--no-brand { margin-left: 0; } .nav-build-bar__branding { display: -ms-flexbox; display: flex; padding: 0 8px 0 0; } .nav-build-bar__branding--tablet { padding: 0 30px 0 0; } .nav-build-bar__branding--desktop { padding: 0 80px 0 0; } .nav-build-bar__title-content { border: 1.78px solid; color: #444; font-size: 22px; font-weight: bold; margin: unset; padding: 8px; width: -webkit-fit-content; width: -moz-fit-content; width: fit-content; } .nav-build-bar__title-content--tablet { font-size: 24px; white-space: nowrap; } .nav-build-bar__title-content--desktop { font-size: 28px; } .nav-build-bar__open-nav { display: -ms-flexbox; display: flex; height: 48px; } .nav-build-bar__open-nav-button { display: -ms-flexbox; display: flex; padding-left: 8px; } .nav-build-bar__sponsored { background-color: #f6f6f6; border: 1px solid #d3d3d3; height: 48px; padding: 0 16px; } .nav-build-bar__open-nav--desktop { padding-right: 16px; } .nav-build-bar__open-nav--mobile { -ms-flex-pack: end; justify-content: flex-end; max-width: 100px; width: 100%; } .info-icon { background: transparent; border: 0; color: #fff; font-size: 12px; outline: none; padding: 0; } .info-icon--red { color: #f00; } .info-icon--grey { color: #999; } .info-icon--medium { font-size: 16px; } .info-icon--large { font-size: 20px; } /* stylelint-disable property-no-unknown */ .styled-dot { background-color: #5ae9cb; border-radius: 50%; -webkit-box-shadow: 0 1px 2px 0 rgba(25, 62, 109, 0.5); box-shadow: 0 1px 2px 0 rgba(25, 62, 109, 0.5); cursor: pointer; display: inline-block; height: 6px; width: 6px; } .styled-dot--no-cursor { cursor: unset; } .styled-dot--medium { -webkit-box-shadow: unset; box-shadow: unset; height: 10px; width: 10px; } .styled-dot--dark-blue { background-color: #193e6d; } .styled-dot--purple { background-color: #362e67; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--black { background-color: #000; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--grey-green { background-color: #008e9b; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--dark-green { background-color: #589e50; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--worklife { background-color: #8beed9; } .styled-dot--future { background-color: #ffc857; } .styled-dot--culture { background-color: #472479; } .styled-dot--earth { background-color: #002856; } .styled-dot--travel { background-color: #002856; } .styled-dot--worklife-prime { background-color: #0052a1; } .styled-dot--future-prime { background-color: #002856; } .styled-dot--culture-prime { background-color: #472479; } .styled-dot--earth-prime { background-color: #0fbb56; } .styled-dot--travel-prime { background-color: #589e50; } .styled-dot--large { -webkit-box-shadow: 0 1px 1px 0 rgba(25, 62, 109, 0.5); box-shadow: 0 1px 1px 0 rgba(25, 62, 109, 0.5); height: 16px; width: 16px; } .styled-dot--small { -webkit-box-shadow: unset; box-shadow: unset; height: 8px; width: 8px; } .styled-dot--grey { background-color: rgba(0, 0, 0, 0.2); } /* stylelint-disable property-no-unknown */ .email-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 11px; height: 50px; -ms-flex-pack: center; justify-content: center; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .email-icon:hover { background-color: #000; } .email-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .facebook-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 15px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .facebook-icon:hover { background-color: #3b5998; } .facebook-icon--blue { background-color: transparent; border: 1px solid #3b5998; color: #3b5998; } .facebook-icon--blue:hover { background-color: #3b5998; color: #fff; } .facebook-icon--white { background-color: transparent; border: 1px solid #fff; color: #fff; } .facebook-icon--white:hover { background-color: #fff; color: #3b5998; } .facebook-icon--small { font-size: 20px; height: 38px; width: 38px; } /* stylelint-disable property-no-unknown */ .hero-header { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .hero-header__header { font-family: 'CuriousSansBold'; color: #fff; font-size: 38px; line-height: 40px; margin: 0; text-shadow: 0 1px 2px rgba(25, 62, 109, 0.7); } .hero-header__header--large { font-size: 44px; line-height: 48px; } .hero-header__header--medium { font-size: 38px; line-height: 47px; } .hero-header__header--small { font-size: 28px; line-height: 34px; } .hero-header__header--black { color: #000; text-shadow: unset; } .hero-header__header--grey { color: #adadad; text-shadow: unset; } .ticked-icon { -ms-flex-align: center; align-items: center; background-color: #13de99; border-radius: 50%; -webkit-box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); display: -ms-flexbox; display: flex; height: 50px; -ms-flex-pack: center; justify-content: center; width: 50px; z-index: 55; } .ticked-icon--small { font-size: 12px; height: 38px; width: 38px; } /* stylelint-disable property-no-unknown */ .google-plus-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 26px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .google-plus-icon:hover { background-color: #d34836; } .google-plus-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .reddit-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 26px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .reddit-icon:hover { background-color: #ff4500; } .reddit-icon__hide { display: none; } .reddit-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .linkedin-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 13px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .linkedin-icon:hover { background-color: #0077b5; } .linkedin-icon--red:hover { background-color: #f00; } .share-button { -ms-flex-align: center; align-items: center; background-color: #fff; border: 1px solid #e4e4e4; color: #444; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 12px; font-weight: bold; -ms-flex-pack: center; justify-content: center; letter-spacing: 3px; padding: 18px 16px; text-transform: uppercase; -webkit-transition: 0.6s; transition: 0.6s; width: 110px; z-index: 55; } .share-button .gelicon--share { margin-right: 10px; -webkit-transition: 0.3s ease-in; transition: 0.3s ease-in; } .share-button:hover .gelicon--share, .share-button .gelicon--share-sharing { -webkit-transform: rotate(-180deg); transform: rotate(-180deg); } /* stylelint-disable property-no-unknown */ .whatsapp-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 13px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .whatsapp-icon:hover { background-color: #25d366; } .whatsapp-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .twitter-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 13px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .twitter-icon:hover { background-color: #1da1f2; } .twitter-icon--light-blue { background-color: transparent; border: 1px solid #1da1f2; color: #1da1f2; } .twitter-icon--light-blue:hover { background-color: #1da1f2; color: #fff; } .twitter-icon--white { background-color: transparent; border: 1px solid #fff; color: #fff; } .twitter-icon--white:hover { background-color: #fff; color: #1da1f2; } .twitter-icon--small { font-size: 18px; height: 38px; width: 38px; }/* stylelint-disable */ html, body { margin: 0; padding: 0; } #root *, #root *::before, #root *::after { box-sizing: border-box; } #root article, #root aside, #root figure, #root footer, #root header, #root nav, #root section { display: block; } body { background: #fff; } .app__body { display: flex; flex-direction: column; min-height: 100vh; overflow: visible; position: relative; } .app__domestic-disclaimer { bottom: 0; position: fixed; width: 100%; z-index: 5000; } .main { display: flex; flex: 1 0 auto; flex-direction: column; } .navigation { background-color: #fff; display: none; margin: auto; max-width: 1248px; padding: 4px 16px 0; position: relative; z-index: 1000; } @media (min-width: 1008px) and (max-width: 1279px) { .navigation { max-width: 976px; } } @media (min-width: 600px) { .navigation { padding: 0 16px 1px; } } @media (min-width: 600px) and (max-width: 1007px) { .navigation { max-width: 990px; } } @media (min-width: 300px) and (max-width: 399px) { .navigation { padding: 4px 8px; } } .navigation--display { display: block; } .navigation-sticky--undocked { background-color: #fff; width: 100%; z-index: 10000; } .StickyElement { position: relative; z-index: 1501; } .loader { display: none; height: 100%; left: -99999px; opacity: 0; position: absolute; top: 0; transition: 0.2s opacity; width: 100%; z-index: 1000; } .loader--is-active { background: white; display: block; left: 0; opacity: 1; } .loader__body { display: none; left: 50%; position: fixed; top: 50%; transform: translateX(-50%) translateY(-50%); } .loader__body--show-loader { display: block; } .no-js .loader { display: none; } .index { display: block; margin-bottom: 16px; } @media (min-width: 600px) { .index { margin-bottom: 24px; } } .index__article-hero { margin-bottom: 27px; } .index .article-hero__content { margin-top: 60px; } .index__latest-articles { width: 100%; } @media (max-width: 599px) { .index__latest-articles { margin-top: 8px; padding: 0; } } @media (min-width: 768px) { .index__latest-articles { margin: auto; max-width: 1248px; padding: 24px 16px 0; } } @media (min-width: 600px) and (max-width: 1007px) { .index__latest-articles { margin: auto; max-width: 990px; padding-top: 8px; } } @media (min-width: 1008px) and (max-width: 1279px) { .index__latest-articles { margin: auto; max-width: 976px; } } .index__load-more { display: flex; justify-content: center; padding: 0 0 24px; } .index__storyworks-section { margin: auto; max-width: 1248px; padding: 16px 0 0; } @media (min-width: 1008px) { .index__storyworks-section { padding: 16px 16px 0; } } @media (min-width: 600px) and (max-width: 1007px) { .index__storyworks-section { margin: auto; max-width: 990px; padding: 8px 16px 0; } } @media (min-width: 1008px) and (max-width: 1279px) { .index__storyworks-section { max-width: 976px; } } .index__storyworks-section > div > div.bbccom_visible { background: #f1f1f1 !important; display: inline-block; width: 100%; } .index__more-articles { margin: auto; max-width: 1248px; padding: 16px 0 0; } @media (min-width: 1008px) { .index__more-articles { padding: 16px 16px 0; } } @media (min-width: 600px) and (max-width: 1007px) { .index__more-articles { margin: auto; max-width: 990px; padding: 8px 0 0; } } @media (min-width: 1008px) and (max-width: 1279px) { .index__more-articles { max-width: 976px; } } .index__full-width-image-article { padding-top: 8px; } .index__stories-container { margin: 16px 16px 0; } @media (min-width: 300px) and (max-width: 399px) { .index__stories-container { margin: 16px 8px 0; } } @media (min-width: 1008px) { .index__stories-container { margin: auto; max-width: 1248px; } } @media (min-width: 600px) and (max-width: 1007px) { .index__stories-container { margin: auto; max-width: 990px; } } @media (min-width: 1008px) and (max-width: 1279px) { .index__stories-container { max-width: 976px; } } .index__section-header-unit img { width: 100vw; } @media (max-width: 420px) { .index__section-header-unit img { width: 150vw; } } .index__section-header-unit { margin: auto; max-width: 1248px; padding: 8px 8px 0; } @media (min-width: 1008px) { .index__section-header-unit { padding: 16px 16px 0; } } @media (min-width: 600px) and (max-width: 1007px) { .index__section-header-unit { max-width: 990px; padding: 16px 8px 0; } } @media (min-width: 600px) and (max-width: 767px) { .index__section-header-unit { padding-bottom: 24px; } } @media (max-width: 599px) { .index__section-header-unit { padding: 8px 0; } } @media (min-width: 1008px) and (max-width: 1279px) { .index__section-header-unit { max-width: 976px; } } @media (min-width: 1008px) { .index__latest-articles--desktop-ad { max-width: 1280px; padding: 24px 0 0; } } .latest-articles__container { margin-bottom: 24px; } .latest-articles__container--tablet { margin-bottom: 26px; } .latest-articles__container--desktop { margin-bottom: 32px; } .latest-articles__articles { margin: auto; } .latest-articles__articles--mobile-rectangle { margin: auto; } .latest-articles__articles--tablet-rectangle { margin: auto 8px; } .latest-articles__editor { color: #020202; font-stretch: normal; font-size: 14px; font-style: normal; font-weight: normal; text-align: center; text-transform: uppercase; letter-spacing: 2.92px; margin: 0 0 22px; } .latest-articles__editor--tablet { margin-bottom: 32px; } .latest-articles__editor--desktop { margin-bottom: 36px; } 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data-bbc-result="https://www.bbc.com/culture/article/20211024-three-stars-for-chlo-zhaos-disappointing-eternals" data-bbc-client-routed="true" class="rectangle-story-group__article-hero rectangle-story-group__article-hero--tablet"><div class="article-title-card-rectangle b-reith-sans-font"><div class="article-title-card-rectangle__container"><div class="article-title-card-rectangle__image"><a class="article-title-card-rectangle__link" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211024-three-stars-for-chlo-zhaos-disappointing-eternals"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p0b012xm.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p0b012xm.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p0b012xm.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p0b012xm.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p0b012xm.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p0b012xm.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p0b012xm.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p0b012xm.jpg" type="image/jpeg"/><img draggable="false" title="Eternals (Credit: Marvel Studios)" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p0b012xm.jpg" alt="Eternals (Credit: Marvel Studios)" id=""/></picture><span class="article-title-card-rectangle__overlay article-title-card-rectangle__overlay--culture"></span></a></div><div class="article-title-card-rectangle__text-box"><a class="article-title-card-rectangle__link article-title-card-rectangle__text-container" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span class="article-title-card-rectangle__text-box__label article-title-card-rectangle__text-box__label--culture">Film</span></a><a class="article-title-card-rectangle__link article-title-card-rectangle__text-container" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211024-three-stars-for-chlo-zhaos-disappointing-eternals"><h2 class="article-title-card-rectangle__text-box__header b-font-weight-300 b-reith-sans-font b-font-weight-300">Three stars for Eternals</h2></a><span class="rectangle-story-item__line"><div class="styled-line styled-line--light-grey styled-line--height--small"></div></span><p class="article-title-card-rectangle__text-box__author b-font-family-serif b-reith-sans-font">By Nicholas Barber</p></div></div></div></div></div><div class="rectangle-story-group__articles rectangle-story-group__articles--full-screen"><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="Cinema's most misunderstood filmmaker" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::2"}" data-bbc-result="https://www.bbc.com/culture/article/20211015-cinemas-most-misunderstood-filmmaker" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" 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srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09yt87k.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09yt87k.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09yt87k.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09yt87k.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09yt87k.jpg" type="image/jpeg"/><img draggable="false" title="French Dispatch" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09yt87k.jpg" alt="French Dispatch" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211015-cinemas-most-misunderstood-filmmaker"><span>Cinema's most misunderstood filmmaker</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Mark Allison</span></div></div></div><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="Why 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srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09ymx4q.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09ymx4q.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09ymx4q.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09ymx4q.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09ymx4q.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09ymx4q.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09ymx4q.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Netflix)" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09ymx4q.jpg" alt="(Credit: Netflix)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211014-netflixs-you-and-how-nice-guys-became-the-real-villains"><span>Why 'nice guys' became the villains</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Sophie Monks Kaufman</span></div></div></div><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="Which Bond character are you?" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::4"}" data-bbc-result="https://www.bbc.com/culture/article/20211011-which-bond-character-are-you" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211011-which-bond-character-are-you"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09ybcz2.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09ybcz2.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09ybcz2.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09ybcz2.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09ybcz2.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09ybcz2.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09ybcz2.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09ybcz2.jpg" type="image/jpeg"/><img draggable="false" title="Three different iterations of James Bond" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09ybcz2.jpg" alt="Three different iterations of James Bond" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211011-which-bond-character-are-you"><span>Which Bond character are you?</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Nicholas Barber</span></div></div></div></div></div></div></div></div></div><div class="index__more-articles"></div><div class="index__stories-container"><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The greatest music films ever made" data-bbc-metadata="{"APP":"index-stories","CHD":"card::1"}" data-bbc-result="https://www.bbc.com/culture/article/20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09yfpcy.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09yfpcy.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09yfpcy.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09yfpcy.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09yfpcy.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09yfpcy.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09yfpcy.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09yfpcy.jpg" type="image/jpeg"/><img draggable="false" title="Lou Reed from The Velvet Underground (Credit: Courtesy of Apple)" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09yfpcy.jpg" alt="Lou Reed from The Velvet Underground (Credit: Courtesy of Apple)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past"><span>The greatest music films ever made</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Christina Newland</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The sci-fi director of the 21st Century" data-bbc-metadata="{"APP":"index-stories","CHD":"card::2"}" data-bbc-result="https://www.bbc.com/culture/article/20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09ybm8r.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09ybm8r.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09ybm8r.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09ybm8r.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09ybm8r.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09ybm8r.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09ybm8r.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09ybm8r.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Legendary Pictures)" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09ybm8r.jpg" alt="(Credit: Legendary Pictures)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century"><span>The sci-fi director of the 21st Century</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Stephen Kelly</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The erotic thriller that still shocks" data-bbc-metadata="{"APP":"index-stories","CHD":"card::3"}" data-bbc-result="https://www.bbc.com/culture/article/20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09y1vt0.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09y1vt0.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09y1vt0.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09y1vt0.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09y1vt0.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09y1vt0.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09y1vt0.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09y1vt0.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Alamy)" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09y1vt0.jpg" alt="(Credit: Alamy)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on"><span>The erotic thriller that still shocks</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Arjun Sajip </span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="'The spy story to end all spy stories'" data-bbc-metadata="{"APP":"index-stories","CHD":"card::4"}" data-bbc-result="https://www.bbc.com/culture/article/20211006-no-time-to-die-why-bond-is-the-ultimate-spy-hero" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211006-no-time-to-die-why-bond-is-the-ultimate-spy-hero"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09x6171.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09x6171.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09x6171.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09x6171.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09x6171.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09x6171.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09x6171.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09x6171.jpg" type="image/jpeg"/><img draggable="false" title="Daniel Craig in No Time To Die" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09x6171.jpg" alt="Daniel Craig in No Time To Die" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div><div class="rectangle-story-item__icon gelicon--play"></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211006-no-time-to-die-why-bond-is-the-ultimate-spy-hero"><span>'The spy story to end all spy stories'</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><a class="rectangle-story-item__author b-font-family-serif" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture"><span>Culture</span></a></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The 11 best big-screen showdowns" data-bbc-metadata="{"APP":"index-stories","CHD":"card::5"}" data-bbc-result="https://www.bbc.com/culture/article/20211004-the-last-duel-cinemas-10-best-showdowns" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211004-the-last-duel-cinemas-10-best-showdowns"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09xqft8.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09xqft8.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09xqft8.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09xqft8.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09xqft8.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09xqft8.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09xqft8.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09xqft8.jpg" type="image/jpeg"/><img draggable="false" title="Matrix" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09xqft8.jpg" alt="Matrix" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20211004-the-last-duel-cinemas-10-best-showdowns"><span>The 11 best big-screen showdowns</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Nicholas Barber</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="Twelve films to watch this October" data-bbc-metadata="{"APP":"index-stories","CHD":"card::6"}" data-bbc-result="https://www.bbc.com/culture/article/20210930-twelve-films-to-watch-this-october" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210930-twelve-films-to-watch-this-october"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09xcqbz.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09xcqbz.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09xcqbz.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09xcqbz.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09xcqbz.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09xcqbz.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09xcqbz.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09xcqbz.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Warner Bros)" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09xcqbz.jpg" alt="(Credit: Warner Bros)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210930-twelve-films-to-watch-this-october"><span>Twelve films to watch this October</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Nicholas Barber</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="Five stars for No Time To Die" data-bbc-metadata="{"APP":"index-stories","CHD":"card::7"}" data-bbc-result="https://www.bbc.com/culture/article/20210928-five-stars-for-no-time-to-die" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210928-five-stars-for-no-time-to-die"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09x617v.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09x617v.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09x617v.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09x617v.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09x617v.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09x617v.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09x617v.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09x617v.jpg" type="image/jpeg"/><img draggable="false" title="No Time to Die" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09x617v.jpg" alt="No Time to Die" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210928-five-stars-for-no-time-to-die"><span>Five stars for No Time To Die</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Nicholas Barber</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="Is it time to revive the epic romance?" data-bbc-metadata="{"APP":"index-stories","CHD":"card::8"}" data-bbc-result="https://www.bbc.com/culture/article/20210924-the-english-patient-is-it-time-to-revive-the-epic-romance" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210924-the-english-patient-is-it-time-to-revive-the-epic-romance"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09wvw96.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09wvw96.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09wvw96.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09wvw96.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09wvw96.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09wvw96.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09wvw96.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09wvw96.jpg" type="image/jpeg"/><img draggable="false" title="The English Patient" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09wvw96.jpg" alt="The English Patient" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210924-the-english-patient-is-it-time-to-revive-the-epic-romance"><span>Is it time to revive the epic romance?</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Anna Smith</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The women who have shaped Bond" data-bbc-metadata="{"APP":"index-stories","CHD":"card::9"}" data-bbc-result="https://www.bbc.com/culture/article/20210923-the-women-who-have-shaped-bond" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210923-the-women-who-have-shaped-bond"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09wsfb9.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09wsfb9.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09wsfb9.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09wsfb9.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09wsfb9.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09wsfb9.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09wsfb9.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09wsfb9.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Getty Images)" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09wsfb9.jpg" alt="(Credit: Getty Images)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210923-the-women-who-have-shaped-bond"><span>The women who have shaped Bond</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Beth Webb</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="Why Amélie is a magical masterpiece" data-bbc-metadata="{"APP":"index-stories","CHD":"card::10"}" data-bbc-result="https://www.bbc.com/culture/article/20210916-amlie-the-most-stylish-film-ever-made" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210916-amlie-the-most-stylish-film-ever-made"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09w4m72.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09w4m72.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09w4m72.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09w4m72.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09w4m72.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09w4m72.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09w4m72.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09w4m72.jpg" type="image/jpeg"/><img draggable="false" title="Amelie" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09w4m72.jpg" alt="Amelie" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210916-amlie-the-most-stylish-film-ever-made"><span>Why Amélie is a magical masterpiece</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Hannah Strong</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="What Bond's next era will look like" data-bbc-metadata="{"APP":"index-stories","CHD":"card::11"}" data-bbc-result="https://www.bbc.com/culture/article/20210913-what-the-future-of-bond-movies-could-look-like" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210913-what-the-future-of-bond-movies-could-look-like"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09vvqpp.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09vvqpp.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09vvqpp.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09vvqpp.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09vvqpp.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09vvqpp.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09vvqpp.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09vvqpp.jpg" type="image/jpeg"/><img draggable="false" title="Regé-Jean Page is among the stars who have been rumoured to play the next Bond (Credit: Alamy)" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09vvqpp.jpg" alt="Regé-Jean Page is among the stars who have been rumoured to play the next Bond (Credit: Alamy)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210913-what-the-future-of-bond-movies-could-look-like"><span>What Bond's next era will look like</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Al Horner</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="'The definition of Oscar bait'" data-bbc-metadata="{"APP":"index-stories","CHD":"card::12"}" data-bbc-result="https://www.bbc.com/culture/article/20210913-the-eyes-of-tammy-faye-hollywood-oscar-bait" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210913-the-eyes-of-tammy-faye-hollywood-oscar-bait"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09vtg6m.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1600x900/p09vtg6m.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09vtg6m.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/1280x720/p09vtg6m.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09vtg6m.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09vtg6m.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09vtg6m.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/624x351/p09vtg6m.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Searchlight Pictures)" src="https://web.archive.org/web/20211025190556im_/https://ychef.files.bbci.co.uk/976x549/p09vtg6m.jpg" alt="(Credit: Searchlight Pictures)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211025190556/https://www.bbc.com/culture/article/20210913-the-eyes-of-tammy-faye-hollywood-oscar-bait"><span>'The definition of Oscar bait'</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Caryn James</span></div></div></div></div></div><div class="index__load-more"><div data-bbc-container="load-more-btn" data-bbc-title="Latest Stories" data-bbc-metadata="{"APP":"load-more-btn","CHD":"card::1"}" data-bbc-result="" data-bbc-client-routed="true" class="load-more-button"><button class="basic-button basic-button--culture"><span class="load-more-button__refresh gelicon--refresh"></span><span class="basic-button__text">Load more articles</span></button></div></div><div class="around-the-bbc-swimlane"><div class="swimlane"><div class="swimlane-inner swimlane-inner--small"><div class="swimlane__content"><span 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Alamy)","templateUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09vvrcg.jpg","title":"Lashana.jpg","creationDateTime":"0001-01-01T00:00:00Z","entity":"image","guid":"","id":"p09vvrcg","modifiedDateTime":"0001-01-01T00:00:00Z","project":"","slug":"","url":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09vvrcg.jpg","cacheLastUpdated":1635188204726},"p09vvqt0":{"urn":"urn:external:nitro:image:p09vvqt0","_id":"616ff5a645ceed5f862b59e9","copyright":"Alamy","fileSizeBytes":949048,"mimeType":"image\u002Fgif","sourceHeight":1080,"sourceUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fs3-eu-west-1.amazonaws.com\u002Flive-galileo-interface-mt-resources-imagebucket-1a92e5tj3b5d6\u002Fp0\u002F9v\u002Fvq\u002Fp09vvqt0.jpg","sourceWidth":1920,"synopsisLong":"","synopsisMedium":"Bond villains, like Tomorrow Never Dies' Rupert Murdoch-inspired media mogul Elliot Carver, have always reflected real-world concerns (Credit: Alamy)","synopsisShort":"(Credit: Alamy)","templateUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09vvqt0.jpg","title":"ElliotCarver.jpg","creationDateTime":"0001-01-01T00:00:00Z","entity":"image","guid":"","id":"p09vvqt0","modifiedDateTime":"0001-01-01T00:00:00Z","project":"","slug":"","url":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09vvqt0.jpg","cacheLastUpdated":1635188204726},"p09vvrkv":{"urn":"urn:external:nitro:image:p09vvrkv","_id":"616ff54145ceed3473491994","copyright":"Alamy","fileSizeBytes":1629701,"mimeType":"image\u002Fgif","sourceHeight":1080,"sourceUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fs3-eu-west-1.amazonaws.com\u002Flive-galileo-interface-mt-resources-imagebucket-1a92e5tj3b5d6\u002Fp0\u002F9v\u002Fvr\u002Fp09vvrkv.jpg","sourceWidth":1920,"synopsisLong":"","synopsisMedium":"A Bond spin-off starring Halle Berry's character never materialised – but there could now be spin-offs to come (Credit: Alamy)","synopsisShort":"(Credit: Alamy)","templateUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09vvrkv.jpg","title":"HalleBerry.jpg","creationDateTime":"0001-01-01T00:00:00Z","entity":"image","guid":"","id":"p09vvrkv","modifiedDateTime":"0001-01-01T00:00:00Z","project":"","slug":"","url":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09vvrkv.jpg","cacheLastUpdated":1635188204726},"p09vvqn3":{"urn":"urn:external:nitro:image:p09vvqn3","_id":"616ff55045ceed3bc9690501","copyright":"Alamy","fileSizeBytes":1089869,"mimeType":"image\u002Fgif","sourceHeight":1080,"sourceUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fs3-eu-west-1.amazonaws.com\u002Flive-galileo-interface-mt-resources-imagebucket-1a92e5tj3b5d6\u002Fp0\u002F9v\u002Fvq\u002Fp09vvqn3.jpg","sourceWidth":1920,"synopsisLong":"","synopsisMedium":"","synopsisShort":"(Credit: Alamy)","templateUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09vvqn3.jpg","title":"NoTimeToDie.jpg","creationDateTime":"0001-01-01T00:00:00Z","entity":"image","guid":"","id":"p09vvqn3","modifiedDateTime":"0001-01-01T00:00:00Z","project":"","slug":"","url":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09vvqn3.jpg","cacheLastUpdated":1635188204726},"p09vtg6m":{"urn":"urn:external:nitro:image:p09vtg6m","_id":"616ff54945ceed2b167fc721","copyright":"Searchlight Pictures","fileSizeBytes":245292,"mimeType":"image\u002Fjpeg","sourceHeight":1080,"sourceUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fs3-eu-west-1.amazonaws.com\u002Flive-galileo-interface-mt-resources-imagebucket-1a92e5tj3b5d6\u002Fp0\u002F9v\u002Ftg\u002Fp09vtg6m.jpg","sourceWidth":1920,"synopsisLong":"","synopsisMedium":"","synopsisShort":"(Credit: Searchlight Pictures)","templateUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09vtg6m.jpg","title":"Index.jpg","creationDateTime":"0001-01-01T00:00:00Z","entity":"image","guid":"","id":"p09vtg6m","modifiedDateTime":"0001-01-01T00:00:00Z","project":"","slug":"","url":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09vtg6m.jpg","cacheLastUpdated":1635188204726}},"articles":{"culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals","_id":"61759f3045ceed45a2465dca","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"Oscar-winning Chloé Zhao directs the latest Marvel superhero movie, which is watchable but ultimately unmemorable. It could be the most disappointing MCU film yet, writes Nicholas Barber.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis is a first: a Marvel superhero blockbuster directed by someone who has just won an Oscar for making a naturalistic drama about economic hardship among the over-60s. To be more specific, Eternals is directed by Chloé Zhao, the brilliant writer-director of \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200914-nomadland-review-overflowing-with-humanity-and-tenderness\"\u003ENomadland\u003C\u002Fa\u003E. I doubt you'd guess who had made her new film if you didn't know beforehand, but faint echoes of her spine-tingling previous work can be found. There is her fondness for magnificent, rugged landscapes and rock formations, for one thing. For another, Eternals is more serious in tone and more deliberate in its pacing than the average Marvel movie, with less of the usual banter and no cameo appearances by other superheroes. But, if you're looking for the humanity and originality of Zhao's other films, you won't find much of it here. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october\"\u003ETwelve films to watch this October\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210902-the-power-of-the-dog-a-five-star-brooding-melodrama\"\u003EFive stars for The Power of the Dog\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210903-diana-biopic-spencer-wobbles-between-the-bold-and-the-bad\"\u003EThree stars for Pablo Larraín's Spencer\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe opening scenes suggest that we're in for something far more mind-blowing than what we get. Some captions, a Pink Floyd song, and some 2001-ish imagery introduce the Eternals, 10 super-powered aliens from Olympia. They were sent to our galaxy in a triangular slab of a spaceship by the Celestials, a race of giants who have been around since the dawn of time. But then the film comes down to Earth in more ways than one. The Eternals' job on our planet is to kill off yet more aliens: the Deviants, which look like crocodiles made out of rope by the people who did the puppet for War Horse. Ever since 5000BC, then, the Eternals have been sneaking around Earth, and many of our myths and legends were inspired by their exploits. \u003C\u002Fp\u003E\n\u003Cp\u003EThe one who is given the most to do is Sersi (Gemma Chan), a soft-hearted scientist who can turn solid objects to dust. The leader is Ajak (Salma Hayek), who can heal any wound. Ikaris (Richard Madden) can fly and shoot lasers (or something) from his eyes: one good joke is that somebody understandably gets him mixed up with Superman. Thena (Angelina Jolie) is a gloomy warrior whose fits of homicidal madness don't add anything to the narrative. And Kingo (Kumail Nanjiani) shoots lasers (or something) from his fingers: one of the best-known facts about the film is that Nanjiani committed to an intensive, transformative body-building regime in preparation, but as there isn't a single shirtless shot to show off his bulked-up physique, that can't help but feel like a waste of time and effort.\u003C\u002Fp\u003E\n\u003Cp\u003EMoving on, there is the sullen Druig (Barry Keoghan), who declares that he is going to use his mind-control powers to stop humans from going to war with each other – but then admits that he never got around to it. There is Sprite (Lia McHugh) who can project holograms, and who is stuck forever in the body of a child, much like Kirsten Dunst's character in Interview with the Vampire. There is Phastos (Brian Tyree Henry), an expert mechanic, and the first openly gay superhero in the Marvel Cinematic Universe. There is Makkari (Lauren Ridloff) who is deaf, and who can run at Sonic the Hedgehog-rivalling speeds. And there is Gilgamesh (Don Lee) who ... errr... well, he can punch things really hard.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Hiring a writer-director who specialises in muted, documentary-like dramas for an action spectacular about interstellar demigods may not have been the wisest choice","id":"culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EStill with me? Suffice it to say that the Eternals score highly in terms of gender, ethnic and sexual diversity, but lowly in terms of being memorable. They're a sketchily drawn and fundamentally drab bunch, so it can be tricky to remember which one is friendly with which. By rights, their super-soap opera should have had its own 20-part series on Disney+. In a film, the plot is so over-populated that one Eternal even announces, shortly before the climactic battle, that he doesn't want to be involved, and walks out, leaving us to wonder why exactly we've spent the last hour hanging out with him.\u003C\u002Fp\u003E\n\u003Cp\u003EIt's possible that some more magnetic actors might have helped, but for the first time, Marvel's sharp eye for casting has gone awry. As soon as Robert Downey Jr was seen as Iron Man and Chris Hemsworth as \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20171019-film-review-thor-ragnarok-is-marvels-best-yet\"\u003EThor\u003C\u002Fa\u003E, it became almost impossible to picture anyone else in the roles. The so-so cast of the Eternals doesn't present that challenge. Madden may look suitably godlike when he poses in a desert and squints at the horizon, but he – like several other key cast members – lacks the acting chops and the charisma to convince you that he is a real person, let alone a real superhuman alien. The most sympathetic character is Sersi's cheerfully nerdy human boyfriend Dane, played by Kit Harington, but he is absent for most of the film, so the promising topic of \"what do you do when you discover your girlfriend is immortal\" is dropped after a couple of sweetly romantic scenes.\u003C\u002Fp\u003E\n\u003Cp\u003EThe Deviants have even less personality than the Eternals. With no distinguishing features, and no agenda beyond an urge to bite people’s heads off, they’re the most generic of slavering digital baddies, so whenever there's an action sequence, it's impossible to tell them apart, or to keep track of how many of them there are. The story, anyway, is that the Eternals believed that they had wiped out the Deviants about 500 years ago, so they disbanded and went their separate ways. But now the monsters are popping back up again. First, they slink out of a canal in London – which is shot in a strikingly moody and un-touristy way – and then they turn up wherever the Eternals happen to be. Ikaris, Sersi and Sprite decide to get the band back together. They do their travelling, by the way, in Kingo's private jet – he's spent the past century pretending to be successive generations of a Bollywood dynasty – so it's odd that their bestial, mindless opponents manage to globe-trot at the same pace. God knows – or rather, Arishem knows – how the Deviants can get from the UK to Australia so quickly, but it seems that this is just one of the many aspects of the film that haven't been thought through.\u003C\u002Fp\u003E\n\u003Cp\u003EThere are a few clever parts, mind you. The various reunions are interspersed with richly detailed flashbacks set in Mesopotamia and Babylon and other ancient beauty spots, and there are some surprising twists and turns as the Eternals argue over the purpose of their mission on Earth. But ultimately it seems that hiring a writer-director who specialises in muted, documentary-like dramas for an action spectacular about gaudily-costumed interstellar demigods may not have been the wisest choice.\u003C\u002Fp\u003E\n\u003Cp\u003EEternals is adapted from a series of far-out 1970s comics by the great Jack Kirby, and traces remain of his visionary design, but Zhao and her three co-writers have weighed it down with lots of rudimentary dialogue, a daft plan – \"If we can assemble device X and attach it to device Y then we can defeat enemy Z\" – and a standard CGI-heavy showdown to round things off. The results aren't terrible. They're definitely watchable. But considering that this sci-fi saga is directed by Zhao, and that its story spans the creation of the Universe and the fate of the planet, it would have been reasonable to expect it to prompt slack-jawed wonder rather than the grudging appreciation of an efficient, workmanlike job. Eternals may not be the worst of Marvel's movies, but it's undoubtedly the most disappointing.\u003C\u002Fp\u003E\n\u003Cp\u003E★★★☆☆\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals-2"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-24T19:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Three stars for Chloé Zhao's 'disappointing' Eternals","headlineShort":"Three stars for Eternals","image":["p0b012xm"],"imageAlignment":"centre","imageAltText":"","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"Chloé Zhao directs the latest Marvel superhero movie, which is watchable but ultimately unmemorable. It could be the most disappointing MCU film yet, writes Nicholas Barber.","summaryShort":"The most disappointing Marvel movie yet","tag":["tag\u002Ffilm-reviews"],"textToSpeech":false,"creationDateTime":"2021-10-24T18:00:08.598653Z","entity":"article","guid":"083f9f9f-cb90-4f69-bc7f-34a093e7f63b","id":"culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals","modifiedDateTime":"2021-10-24T18:09:13.95507Z","project":"culture","slug":"20211024-three-stars-for-chlo-zhaos-disappointing-eternals","cacheLastUpdated":1635188204721},"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker","_id":"61709f7f45ceed6e4b35da72","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fmark-allison"],"bodyIntro":"Is there anything more to Wes Anderson's films than twee whimsicality and aloof performances? Much more, argues Mark Allison: they tell us the truth about being human.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"The paths of glory lead but to the grave.\" So reads the headstone above the burial place of Eloise Fischer, mother of Jason Schwartzman's Max Fischer, in Wes Anderson's 1998 film Rushmore. An extract from Thomas Gray's 1751 poem Elegy Written in a Country Churchyard, it might seem a more fitting epitaph for the tomb of a great military hero than this unremarkable grave. But Anderson's films don't exist within our dull reality –  his worlds are fairy tales, and like all good fairy tales, they begin with death.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made\"\u003EAmélie – the most stylish film ever?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance\"\u003EIs it time to revive the epic romance?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201123-accidentally-wes-anderson-when-real-life-meets-film-fantasy\"\u003EWhen real life meets fantasy\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EEverything Anderson dreams up is ultimately about life's first inevitability, and the craterous absence it leaves in the lives of the bereaved – even if they might not be prepared to admit it. Max's traumatic loss of his mother, for example, is mentioned just twice in Rushmore's script, and both times briefly. But her presence, or lack thereof, defines all that Max does – particularly his strange, Oedipal obsession with the widowed Mrs Cross (Olivia Williams). Rushmore is a film about lonely, damaged people seeking human connection, and this spectre of unresolved grief haunts the Texan director's output. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt8zw"],"imageAlignment":"centre","imageAltText":"Royal Tenenbaums","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDespite this thematic absorption, death is unlikely to be the first thing that comes to mind when considering Anderson's oeuvre. His distinctively affected visual style has been subject to both criticism and parody. A 2013 \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=gfDIAZCwHQE\"\u003ESaturday Night Live sketch\u003C\u002Fa\u003E imagined an Andersonian horror film called The Midnight Coterie of Sinister Intruders; brimming with twee pretensions, dad-rock needle-drops and oddly detached performances. But this preoccupation with the offbeat surface of Anderson's work underestimates his deep understanding of the human condition and the gentle empathy which pervades his filmmaking.\u003C\u002Fp\u003E\n\u003Cp\u003EFrom his debut feature Bottle Rocket (1996), the director's reliance on understatement has lent his work a unique profundity. When Luke Wilson's awkwardly inept crook Anthony Adams candidly remarks, \"I'm usually so exhausted now at the end of the days that I don't have time to think about blown opportunities or wasted time,\" he betrays an immense and existential sadness that cuts disarmingly to the heart of his lot in life.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Anderson's protagonists bury their trauma beneath a facade of caricature, and their journeys are defined by how they deal with their grief","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis peculiar aloofness is a distinctive trait in Anderson's characters, but it is only a varnish on deeply rooted experiences of tragedy and emotional trauma. Ben Stiller's Chas Tenenbaum in The Royal Tenenbaums (2001) appears to be a cartoonish figure with his hypochondriac mania and bright red tracksuit, but at his core he is a man disturbed by the death of his wife and the weight of his continuing responsibility towards their children. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt924"],"imageAlignment":"centre","imageAltText":"Life Aquatic","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ELikewise, Bill Murray's title character in The Life Aquatic with Steve Zissou (2004) is a transparently absurd personality from the moment he first dons his crimson beanie and holstered Glock, but the brutal death of his best friend, for which he vows revenge, is no less ghastly as a result. Anderson's protagonists bury their trauma beneath a facade of caricature, and their journeys are defined by how they deal with their grief. \u003C\u002Fp\u003E\n\u003Cp\u003ELoss continues to hang over Anderson's latest film, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210712-the-french-dispatch-four-stars-for-wes-andersons-latest\"\u003EThe French Dispatch\u003C\u002Fa\u003E (2021), which is perhaps his most nakedly sentimental work. Opening with the death of a long-serving magazine editor, the film is structured as an episodic obituary for a man, a publication, and an entire industry facing gradual extinction. The name of the fictional French city in which the film is set, Ennui-sur-Blasé, unsubtly signposts this atmosphere of melancholic nostalgia. The colourful characters we've come to expect from Anderson are still present, but their eccentricities contribute to a tableau of mid-century journalism as an exciting and noble arena, since lost to time.\u003C\u002Fp\u003E\n\u003Cp\u003EDeath had an even more explicit presence in an earlier version of the film. The writer and filmmaker Matt Zoller Seitz tells BBC Culture, \"The prologue to The French Dispatch originally ended with Owen Wilson in a graveyard having a picnic near the grave of a young woman, presumably his wife\". It seems there is so much mourning in Anderson's worlds that he can afford to cut some of it for pacing.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EHuman connection\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWhile Anderson is deft in walking the line between farce and tragedy, he occasionally suspends his broadly comedic sensibility for moments of unadulterated horror. When Richie Tenenbaum attempts suicide, the frankness with which it is depicted is sudden and distressing. Equally, the death of Steve Zissou's son Ned, or the fatal accident during the river crossing in The Darjeeling Limited (2007), deliver an unexpectedly brutal gut punch. These moments of catastrophe enforce a sense of real and terrifying consequence into Anderson's fantastical worlds.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt8v6"],"imageAlignment":"centre","imageAltText":"Grand Budapest Hotel","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"Death is the biggest thing that we can't control. We can't even know what lies beyond it,\" Seitz tells BBC Culture. \"Accepting this constitutes a harsh lesson for Wes Anderson protagonists, who are often obsessed with controlling everything.\"\u003C\u002Fp\u003E\n\u003Cp\u003EAnderson is not shy in crediting his influences, from filmmakers Michael Powell and Emeric Pressburger to the writer Stefan Zweig, but the director's own experiences also provide a major source of inspiration. His films are littered with autobiographical details; Rushmore, for example, was filmed in the director's own alma mater, St John's School in Houston, Texas, while the family conflict at the heart of The Royal Tenenbaums was inspired by his own parents' divorce. \u003C\u002Fp\u003E\n\u003Cp\u003EThe most sobering moment in The Grand Budapest Hotel (2014) comes as Zero Moustafa reveals to M Gustave that his entire family was killed in an earlier war. Speaking to Seitz for his 2015 book on The Grand Budapest Hotel, Anderson elaborates that Zero's harrowing story was inspired by his partner, Juman Malouf, and the experiences of her family in Lebanon. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Ultimately the movie didn't mean anything to me until the characters started to become connected to things that I had been through – Wes Anderson","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPerhaps it's because there's so much of Anderson in his own work that it never feels crass when he mixes sensitive themes with absurdist humour. As producer James L Brooks writes in his introduction to Anderson and Owen Wilson's Rushmore screenplay, \"They have pulled off the hardest trick in all of contemporary American film: they have won the freedom to use movies as a form of self-expression.\"\u003C\u002Fp\u003E\n\u003Cp\u003EDuring the director's commentary on the Criterion edition of The Royal Tenenbaums, Anderson explains the dual impulses of visual invention and emotional authenticity that motivate him. \"This is a movie where there's a lot of artifice… and it's fun for me to work on those things,\" he says, \"but ultimately the movie didn't mean anything to me until the characters started to become connected to things that I had been through.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt96z"],"imageAlignment":"centre","imageAltText":"The Darjeeling Limited","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESo powerful is Anderson's empathy for his characters and their emotional distress that there is rarely room for outright villains in his stories – the farmers in Fantastic Mr Fox (2009) and the fascist ZigZag movement in Grand Budapest being exceptions. As director Martin Scorsese \u003Ca href=\"https:\u002F\u002Fwww.esquire.com\u002Fnews-politics\u002Fa1608\u002Fwes-anderson-0300\u002F\"\u003Ereflected for Esquire in March 2000\u003C\u002Fa\u003E, \"[Bottle Rocket] was a movie without a trace of cynicism, that obviously grew out of its director's affection for his characters in particular and for people in general. A rarity.\"\u003C\u002Fp\u003E\n\u003Cp\u003EA common thread across Anderson's work is the healing power of simple human connection. When Chas Tenenbaum confides to his father, Gene Hackman's Royal, \"I've had a rough year, Dad\", the response is simply, \"I know you have, Chassie''. Both understand all that he's going through, and simply vocalising it is the first step in a deeper reconciliation.\u003C\u002Fp\u003E\n\u003Cp\u003ESimilarly, when Steve Zissou finally faces the Jaguar Shark that killed his best friend, having lost his own son in pursuit of revenge, all he can say is, \"I wonder if it remembers me?\" It's a phrase loaded with the meaning of a thousand monologues. How many of us have wasted time in search of things we didn't really want, and neglected what we do in the process? \u003C\u002Fp\u003E\n\u003Cp\u003EFor the Whitman brothers in The Darjeeling Limited, their journey to India may not have brought the intended spiritual enlightenment or reconciliation with their estranged mother, but they nevertheless find their love and respect for one another renewed. In the film's closing moments, as they toss aside the hideously printed leather luggage they inherited from their father, they cleanse themselves of the emotional baggage that had pushed them apart.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt8f4"],"imageAlignment":"centre","imageAltText":"The French Dispatch","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ENot all of Anderson's characters are able to come to terms with their grief so cleanly. The scale of Zero's loss in The Grand Budapest Hotel is such that he is unable to recover. Concluding his life story to Jude Law's author, he glosses over the execution of M Gustave and tragically premature death of his wife and child. As the playwright Anne Washburn writes in her introduction to Seitz's book, \"In the character of Zero Mustafa, we see a man who has adapted to his losses but has never rebuilt his life, choosing instead to enshrine his past; he is a testament, rather than a true survivor\".\u003C\u002Fp\u003E\n\u003Cp\u003EBeing a survivor comes with its own responsibilities to continue the memory of those who have passed, a burden that Anderson is keen to bear. The end credits of The French Dispatch duly feature a dedication to a number of 20th-Century writers and journalists, all of whom have long since filed their final dispatch. The lasting impression is the same sentiment of fading glory and inevitable decay that decorated Elouise Fischer's grave in Rushmore, and has since reached across Wes Anderson's career.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-14"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-21T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Cinema's most misunderstood filmmaker","headlineShort":"Cinema's most misunderstood filmmaker","image":["p09yt8j0"],"imageAlignment":"centre","imageAltText":"French Dispatch","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"French Dispatch","promoImage":["p09yt87k"],"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"Is there anything more to Wes Anderson's films than twee whimsicality and aloof performances? Much more, argues Mark Allison: they tell us the truth about being human.","summaryShort":"Is there anything more to Wes Anderson's films than twee whimsicality?","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2021-10-20T23:00:08.432932Z","entity":"article","guid":"7f9d8d4e-5b7d-4f8f-ad8b-8d421721c8b8","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker","modifiedDateTime":"2021-10-21T14:14:25.657248Z","project":"culture","slug":"20211015-cinemas-most-misunderstood-filmmaker","cacheLastUpdated":1635188204721},"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains","_id":"616ff5a945ceed6576500d1a","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fsophie-monks-kaufman"],"bodyIntro":"Now returning for a third series, the hit show is part of a wave of film and TV subverting preconceptions about the men who commit violence, writes Sophie Monks Kaufman.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EA cliché about villains propagated by film and TV is that they’re physically conspicuous, and so anyone with eyes can see they are a threat. That's why, from Freddy Kreuger in Nightmare on Elm Street to Rami Malek’s character Lyutsifer Safin in the \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210928-five-stars-for-no-time-to-die\"\u003Enew Bond film No Time To Die\u003C\u002Fa\u003E, villainy has been visually coded via the extremely prejudicial use of facial disfigurements.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this: \u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210930-eight-tv-shows-to-watch-this-october\"\u003EEight TV shows to watch this October\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211008-five-stars-for-shakespearean-succession\"\u003EFive stars for the new series of Succession\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20191122-cultural-history-of-gaslighting-in-film\"\u003EA cultural history of gaslighting\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EBut equally we know that bad people, whether predators or murderers or otherwise, are not immediately identifiable by either their looks or the way they present themselves – hence why, in real life, there are regularly stories of people guilty of the most heinous acts, in which neighbours, colleagues or acquaintances remark how ordinary they seemed, or what a \"family man\" they appeared to be. Supporting this uncomfortable truth has been a swell of recent stories on film and TV, which have been focused in particular on bad men, who are all the more dangerous for their ability to pass themselves off as \"respectable\" – to appear as the \"nice guy\". And just as some horror films may provide perverse comfort with their very obvious boogeymen, so these deceptively genial villains help us to confront faulty preconceptions about who appears to be a good and bad person – and what we deem to be good and bad behaviour. The trope of casting the \"nice guy\" as the villain is increasingly relevant, in particular, in a post-#MeToo world where the cultural discourse about male violence grapples with the fact that perpetrators are usually not mythical monsters or social outcasts, but everyday \"respectable\" men who trade on their status to abuse women.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ymx7p"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOne show that has explored this trope within a mainstream, pop-culture context is Netflix's You, which returns for a third series today. In it, former Gossip Girl heartthrob Penn Badgley plays Joe Goldberg, a charming, handsome and diffident bookseller – with a secret sideline in stalking women and serial killing.\u003C\u002Fp\u003E\n\u003Cp\u003EThe series allows him to present himself through a narrative voice-over as a wry, humorous, clear-thinking anchor in a world of delusional materialists, who always has a morally righteous way of justifying his actions. Yet, beneath the surface of his smooth self-presentation, both to the other characters and the viewer, his villainy is extreme and undeniable: his method of gaining information on the women he supposedly has romantic feelings for is to stalk them, hack their communications, break into their homes and steal their things. If anyone gets in his way he is content to kidnap and kill them – even as his interior monologue woos the audience with his seductive point of view.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EA cultural reckoning\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EOther recent works reckoning with toxic \"nice guys'' include Emerald Fennell's Oscar-winning, zeitgeist-capturing film Promising Young Woman (2020), which gave us a slew of would-be date rapists who protest in so many words \"But I'm a nice guy!\" when the drunk woman who they took home to take advantage of, reveals herself as sober, avenging angel Cassie (Carey Mulligan). The crucial thing about these men is that they actually believe that they are nice guys. \"You have [these] characters that genuinely believe they're innocent,\" says Dr Catherine Wheatley, a senior lecturer in film studies at Kings College London. \"It's a problem of conflicting visions.\" Arguably, this only serves to make their villainy even more disconcerting.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-2"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThese toxic \"nice guy\" narratives are exposing the kind of insidious paradigms of \"acceptable\" masculinity long implanted in our culture by film and TV\u003C\u002Fp\u003E"},"cardType":"PullQuote","iFrameType":"","pullQuote":"These toxic \"nice guy\" narratives are exposing the kind of insidious paradigms of \"acceptable\" masculinity long implanted in our culture by film and TV","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EElsewhere, the Irish thriller Rose Plays Julie (2019) by Christine Molloy and Joe Lawlor, shows the charm that can smooth over great malignance with its story of a young woman Rose confronting her long-lost biological father Peter, a smooth celebrity archaeologist with a secret history of sexual offences. Meanwhile over on TV, Michaela Coel's incredible drama I May Destroy You showed violation of consent could be committed by the most innocuous seeming perpetrators: Zain (Karan Gill) who slyly removes his condom during sex with Arabella (Coel), is initially styled as the nice guy, a cosy alternative for Arabella to another night in alone with her PTSD from a previous assault.\u003C\u002Fp\u003E\n\u003Cp\u003EAmong other things, these toxic \"nice guy\" narratives are exposing the kind of insidious paradigms of \"acceptable\" masculinity long implanted in our culture by film and TV. What's clever about You's knowing screenplay is that it invites the audience to see how Joe's self-justifying sociopathy sits at the extreme end of a behavioural spectrum idealised by pop culture as romantic, masculine and heroic. In series one, Joe is obsessed with an ill-fated girl named Beck (Elizabeth Lail), and breaks into her apartment to hack her computer and read her messages. She returns unexpectedly, so he hides in her shower, as the voiceover asserts: \"I'm not worried, I've seen enough romcoms to know that guys like me are always getting into jams like this.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ymxbg"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIndeed films, and particularly romcoms, have long had a troubling tradition of valorising \"nice guy\" protagonists whose behaviour is in fact very toxic indeed, and framing boundary-transgressions as aspirational attempts to win the fair maiden. In Richard Curtis's About Time (2013), for example, Curtis presents a whimsical time-travel movie with a likeable lead in Domnhall Gleeson who nevertheless uses the ability to go back in time to repeatedly replay a sexual situation with his eventual wife Mary (Rachel McAdams) to his advantage. It's an action that, as critic Ryan Gilbey \u003Ca href=\"https:\u002F\u002Fwww.newstatesman.com\u002Fculture\u002F2013\u002F08\u002Fsexual-misdemeanour-casts-long-shadow-over-richard-curtiss-about-time\"\u003Epointed out\u003C\u002Fa\u003E in the New Statesman, \"would play in any other genre as date-rape. He just happens to use time-travel rather than Rohypnol.\"\u003C\u002Fp\u003E\n\u003Cp\u003EAnother Richard Curtis film: Love, Actually (2003) has similarly drawn a lot of flack over the years for the notorious scene in which Mark (Andrew Lincoln) shows up on the doorstep of his friend's wife, Juliet (Keira Knightley) with cue cards proclaiming his love. Despite this being out of the blue, with no precedent in their relationship for this kind of intrusion, she is charmed and hence the film validates this doorstepping and wraps it up in the bow of romanticism. Defending it last year, another actress in the film, Martine McCutcheon \u003Ca href=\"https:\u002F\u002Fwww.digitalspy.com\u002Fmovies\u002Fa34857228\u002Flove-actually-martine-mccutcheon-defends-card-scene\u002F\"\u003Etold Digital Spy,\u003C\u002Fa\u003E \"I think people do crazy things when they're in love\". But that's a justification that, while core to classic rom-com thinking, is very dangerous when applied to real life, love being used to justify many terrible actions. It could also have come straight from the mouth of You's \"nice guy\" villain Joe, as he commits another heinous crime in the name of pursuing the latest object of his affection.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ENot-so-romantic leading men\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThis kind of romanticisation of noxious behaviour stretches back all the way through film history. There is a distinction to be made between tales like Dr Jekyll and Mr Hyde and The Picture of Dorian Gray which deal in duality and moral extremes, and the more insidiously toxic behaviours of male characters who are exalted in films that intend them to be seen as impressive. Wheatley is an expert on what she calls \"the taint of villainy\" in screwball comedies and melodramas, and points out how, for example, the lolloping charm machine that was Cary Grant is in fact a deeply ambivalent on-screen presence. \"Even when he's in the romantic leading man roles, he's a bully, and he's duplicitous, and he can be quite moralistic, and he leads these women into positions that they don't really want to be. That's something that is celebrated as a form of masculinity,\" she says, adding that the same applies to a more modern leading man like Harrison Ford, in his roles in the likes of the Indiana Jones films and Blade Runner (1982). Wheatley has been teaching Blade Runner to her students for years and talks about screening it before and after #MeToo. In the latter instance, she says, \"I suddenly saw the film in a completely different light. You see actually how abusive he is in that role. There's the scene where he pushes Sean Young up against the wall and she says 'No, I don't want it' and he says, 'Yeah, yeah, baby you do'. I think that figure has a long history that goes from before Cary Grant to John Wayne of this masculine American hero that takes what he wants. And it's in the westerns, it's in the noirs. It's in Hitchcock.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"In our culture there's this idea that anybody that's in a respectable job – especially any man – has a stronger claim to the objective truth – Catherine Wheatley","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThese figures are so instilled in our popular imagination as masculine ideals and so frequently played by devastatingly handsome movie stars, that it's a wrench to see them for what they truly are. Even when there is really no ambiguity: in You's case, it has been an \u003Ca href=\"https:\u002F\u002Few.com\u002Ftv\u002F2019\u002F12\u002F26\u002Fpenn-badgley-you-season-2-digital-cover-exclusive\u002F\"\u003Eapparent source of frustration\u003C\u002Fa\u003E to Badgely that, no matter what Joe does, fans of the show \u003Ca href=\"https:\u002F\u002Fwww.teenvogue.com\u002Fstory\u002Fpenn-badgley-reminds-fans-his-you-character-joe-goldberg-is-the-worst\"\u003Ehave still romanticised him\u003C\u002Fa\u003E and tweeted about \u003Ca href=\"https:\u002F\u002Fwww.vulture.com\u002Farticle\u002Fpenn-badgley-profile.html\"\u003Ewanting to be locked in his glass murder box\u003C\u002Fa\u003E. Though this is also, perhaps, a symptom of the show not being quite as subversive as it thinks it is.\u003C\u002Fp\u003E\n\u003Cp\u003EHannah J Davies is deputy TV editor at The Guardian, and says she has a love-hate relationship with the show – for while she enjoys it on the level of a slick, funny, addictive soap, but she thinks it is confused about what it stands for. \"It doesn't really skewer anything. It takes you 80 percent of the way there and then doesn't go through with it. Everything's vocalised though [Joe] so it wants to have its cake and eat it. It wants to be like, 'This guy is an absolute monster' but also he gets to narrate it, and he's the one that gets to have the gag.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ymxby"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBy contrast, Promising Young Woman and I May Destroy You do use their studies of skewed male self-perception to greater ends – by centring the female perspective, and showing how female victims' suffering can go unrecognised while not-so-\"nice guys\" are let off the hook. \"The reason why I May Destroy You was substantially different [to You] was that we had those two different viewpoints already baked into it. We had Zain [and] we had Arabella, who was learning about consent and 'stealthing', along with the vast majority of the audience – who may not have known that exact term.\"\u003C\u002Fp\u003E\n\u003Cp\u003EMeanwhile both Promising Young Woman and Rose Plays Julie foreground the element of social status in their explorations of gendered abuse to show how \"respectability\" can be weaponised by male characters who occupy exalted social positions. In the former, Ryan (Bo Burnham), Cassie's boyfriend, who it turns out was one of the men who stood and watched as her friend Nina was assaulted in college, is a paediatric doctor, and when the police come to question him it is with nauseating deference. Meanwhile in the latter, Peter is famous, while Rose is a quiet nobody. \"[In our culture] there's [this idea] that anybody that's in a respectable job – especially any man – has a stronger claim to the objective truth,\" as Wheatley puts it.\u003C\u002Fp\u003E\n\u003Cp\u003EWhile on a cosmetic level, You does wave in the general direction of the fact that Joe has been able to go about his criminal business undetected because he is a nice-looking white man, it has no real interest in delving into the human cost of this unmerited power excess. In the new series, the stakes have dramatically changed for Joe. Together with Love, his equally murderous, equally beautiful beau from series two, he has moved to a fictional Silicon Valley-esque suburb full of tech billionaires, anti-vaxxers and mommy bloggers. Now a father, he is trying – \u003Cem\u003Ereally\u003C\u002Fem\u003E trying – to keep his murderous impulses in check for the sake of his son. He is reckoning with his own traumatic childhood with the end-game of creating a better environment for his kid. When he falls for a female colleague at the library where he works, the tension arises from his attempts to hide this from Love, who has a habit of murdering rivals for Joe’s affection. This Mr and Mrs Smith school of gender equality makes for a bleakly amusing ongoing set-up.\u003C\u002Fp\u003E\n\u003Cp\u003EThe problem is that, now, in apparently encouraging the viewer to root for Joe to let the better angels of his nature triumph, the show seems to also require them to look past the body count he has amassed, and in pitting him against a female adversary in his wife – who is equivalently violent and charming – meaningful social commentary is eclipsed by a rarefied form of domestic farce. With series four just announced, it seems unlikely that Joe will get a comeuppance anytime soon. A show that hinges on a charismatic, good-looking monster is evidently loath to circumscribe its main draw, for Penn Badgley is a bona fide heartthrob with cheekbones that you could ski down. And, as the “nice guy” villain trope evolves, so too do audiences, who adopt a playful edginess in framing their attraction to an objectively foul man who would ruin their lives in a heartbeat. In that sense, perhaps the show makes its point more effectively than it realises about how men are let off the hook, as long as they look the part. \u003C\u002Fp\u003E\n\u003Cp\u003EMore generally, too, now culture is recognising the \"nice guy\" as a potential villain, where do we go from here?  One thing's for sure: there is no level of subverting masculine tropes that can top the elevation of female points-of-view. There are moments when You flirts with switching allegiance but at the time of writing – unlike Joe – it doesn't have that killer instinct.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EYou series 3 is available to stream on Netflix now \u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains-10"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-14T10:44:52.273Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Netflix's You and how 'nice guys' became the real villains","headlineShort":"Why 'nice guys' became the villains","image":["p09ymx4q"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"Now returning for a third series, the hit show is part of a wave of film and TV subverting preconceptions about the men who commit violence, writes Sophie Monks Kaufman.","summaryShort":"How film and TV are questioning preconceptions about the men who commit violence","tag":["tag\u002Ftelevision"],"textToSpeech":false,"creationDateTime":"2021-10-14T23:00:08.401589Z","entity":"article","guid":"176944ab-4093-4ff6-903f-6b47596d5be6","id":"culture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains","modifiedDateTime":"2021-10-15T08:38:30.067334Z","project":"culture","slug":"20211014-netflixs-you-and-how-nice-guys-became-the-real-villains","cacheLastUpdated":1635188204721},"culture\u002Farticle\u002F20211011-which-bond-character-are-you":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211011-which-bond-character-are-you","_id":"616ff61e45ceed171c7c2253","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"Take our quiz to find out whether you're on the side of Her Majesty's Secret Service, or one of the agents of evil causing chaos and destruction.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[]},"cardType":"IFrame","iFrameInfographicUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20211025190556\u002Fhttps:\u002F\u002Fwww.bbc.com\u002Fculture\u002Fbespoke\u002Fwhich-bond-character-are-you\u002Fcontents.html","iFrameType":"infographic","id":"culture\u002Farticle\u002F20211011-which-bond-character-are-you-0"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E--\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211011-which-bond-character-are-you-1"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-14T00:00:42Z","embeddedCustomHtml":"\u003Cdiv class=\"custom-embed-iframe-full-bleed-wrapper\"\u003E\u003Ciframe src=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Fbespoke\u002Fwhich-bond-character-are-you\u002Fcontents.html\" scrolling=\"no\" frameBorder=\"0\" seamless height=\"1000\"\u003E \u003C\u002Fiframe\u003E\u003C\u002Fdiv\u003E","embeddedInfographicUrl":"","embeddedType":"customEmbedded","headlineLong":"Which Bond character are you?","headlineShort":"Which Bond character are you?","image":["p09ybcz2"],"imageAlignment":"centre","imageAltText":"Three different iterations of James Bond","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"Take our quiz to find out whether you're on the side of Her Majesty's Secret Service, or one of the agents of evil causing chaos and destruction.","summaryShort":"Take our quiz to find out","tag":["tag\u002Fcelebrating-bond"],"textToSpeech":false,"creationDateTime":"2021-10-14T05:30:34.908711Z","entity":"article","guid":"1d7aaf85-d4a8-46e4-981a-b547af5dcb6c","id":"culture\u002Farticle\u002F20211011-which-bond-character-are-you","modifiedDateTime":"2021-10-14T07:58:50.183454Z","project":"culture","slug":"20211011-which-bond-character-are-you","cacheLastUpdated":1635188204722},"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past","_id":"616ff5d945ceed781b404f30","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fchristina-newland"],"bodyIntro":"Todd Haynes' new film offers a fresh take on the seminal 60s band. It's one of several films this year that are breaking boundaries and challenging conventions.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThere's a brief moment in Todd Haynes' new documentary The Velvet Underground where a handheld 16mm camera swings woozily around a downtown New York hangout of the mid-1960s. The band themselves, black-clad and ineffably cool, bang away at a rendition of their song Heroin while a swirling wall of psychedelic lights are projected over them, rendering them half-invisible.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210922-nevermind-at-30-how-the-nirvana-album-shook-the-world\"\u003EThe album that shook the world\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210804-sparks-the-greatest-band-youve-never-heard-of\"\u003E'The greatest band you've never heard of'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210630-film-review-five-stars-for-the-timely-summer-of-soul\"\u003EFive stars for the timely Summer of Soul\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EA seminal rock 'n' roll band in a decade full of them, The Velvets – Lou Reed, John Cale, Sterling Morrison, and Moe Tucker – combined sonic dissonance, slinky sexuality, and an utter disinterest in appealing to the mainstream in a manner that would mark them as one of the most influential musical acts of all time.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"My job as a filmmaker is to try to bring the medium of film to open up the visual language of a movie to a band and their music – Todd Haynes","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHaynes' film doesn't try to explain The Velvet Underground to us, but does its utmost to put us in the room with them\u003Cstrong\u003E, \u003C\u002Fstrong\u003Emirroring their jaggedly cool style with fragments of archival footage and the constant rumble of their musical catalogue. As he tells BBC Culture, \"My job as a filmmaker is to try to bring the medium of film, in some context, to open up the visual language of a movie to a band and their music. It's really about 'how do you make a feeling of watching the movie something on a par with what they did?'\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yfpjm"],"imageAlignment":"centre","imageAltText":"The Velvet Underground","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn the long and colourful history of the music documentary – and its many subgenres – there are some exemplary standouts. There's the concert film, like DA Pennebaker's Monterey Pop (1968), Martin Scorsese's The Last Waltz (1978) or Jonathan Demme's Stop Making Sense (1984). There are the anthologised histories of entire genres, like Ken Burns' opus-length Jazz series or his more recent Country Music. There are riotous fly-on-the-wall contemporary tour documentaries, giving us access to pop personalities in riveting detail, from Let's Get Lost (1988) to Gimme Shelter (1970) to In Bed with Madonna (1991). Recent films, like Amazing Grace (2018) and Beyonce's Homecoming (2019), have swiftly climbed to the top of the tree. A few have become touchstones for what can be done when great musical artists are captured by correspondingly great filmmakers, and it doesn't feel premature to say that The Velvet Underground is one of those.\u003C\u002Fp\u003E\n\u003Cp\u003EHappily, 2021 has felt like something of a banner year for the engaging, complex, and visually inventive music documentary, and Haynes' film joins the ranks of Edgar Wright's \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210804-sparks-the-greatest-band-youve-never-heard-of\"\u003EThe Sparks Brothers\u003C\u002Fa\u003E and Questlove's \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210630-film-review-five-stars-for-the-timely-summer-of-soul\"\u003ESummer of Soul\u003C\u002Fa\u003E as some of the best. These films have each transcended any staid conventions of what a music doc should be. Wright's The Sparks Brothers utilises self-awareness with its talking heads sections – lighting its subjects in a consciously stagey way, seating them farther apart than usual, adding tangential animation scenes and amusing asides to capture the playful misfit spirit of Russell and Ron Mael.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yfp83"],"imageAlignment":"centre","imageAltText":"Sparks","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESimilarly playing with the form's conventions, The Velvet Underground throws the viewer headlong into a series of split screens, half with contemporary commentaries and half with an ongoing explosion of imagery from a fertile period of mid-60s New York City. \"I wanted to feel that the oral histories were almost there in the back of your mind, but not in the front of your mind,\" Haynes says. \"So you were travelling through the movie with your eyes and ears and, hopefully, it would let you hear the music freshly – which is always the goal with a band of great influence.\" Charlie Phillips, head of video at The Guardian, offers a similar observation about the efficacy of dropping a viewer into an experience. \"Summer of Soul shares something with The Velvet Underground documentary in not trying to explain everything, which I think is important. You can show brilliant performances at length: they speak for themselves – let us get immersed in them!\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EReclaiming the past\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThough each of these films play with visual tropes and inevitable conventions – talking heads, archival footage – in a different way, they also have something in common: a focused look back that is not uncomplicatedly nostalgic or hagiographic, but that also seeks to reclaim that past with fresh eyes, often from an outsider perspective. If things are always clearer in retrospect, these films welcome discussion of periods of commercial failure (The Sparks Brothers), difficult personalities (The Velvet Underground's lead singer Lou Reed), and complex social realities while also thoroughly embedding the audience within the world of the subjects.\u003C\u002Fp\u003E\n\u003Cp\u003EIn Questlove's remarkable restored concert film Summer of Soul, previously unseen footage from the 1969 Harlem Cultural Festival practically vibrates with the charisma and style of the performers. Framing long segments of the live music with commentary, the film is a celebration of a festival full of black joy and self-expression at a period of fractious and painful change in the US. It also cleverly requires its viewer to ask how such amazing performances, from artists like Sly and the Family Stone and Stevie Wonder, could go more-or-less unseen for so long. (The footage was never purchased by any major TV networks and was essentially left in a basement for decades.)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yfp2l"],"imageAlignment":"centre","imageAltText":"Summer of Soul","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhen it comes to depicting musical legends, Todd Haynes has often eschewed the workaday methods of other filmmakers. With his audacious film I'm Not There (2007), he created an imagined journey through the many lives and personas Bob Dylan has adopted over the years, personified by a cast of actors from a small boy to Cate Blanchett. Early in his career, he showed a unique approach to musical stardom, using Barbie dolls to reenact scenes of Karen Carpenter's life in Superstar: the Karen Carpenter Story (1988). And with this latest documentary, which has a different set of rules, Haynes' approach offers a fresh perspective. The film features a rotating cast of musical luminaries and band associates, but he also includes people like Jonas Mekas, the late king of the independent New York film scene and founder of the Anthology Film Archives, to contextualise how a band as singular as The Velvet Underground came to exist.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The Velvet Underground looks like a Velvet Underground record sounds. It's discordant and sometimes overwhelming; it's brash; it's trying not to be like other music documentaries – Charlie Phillips","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe band are presented as inextricable from the queer and avant-garde scenes of the city in the 1960s. \"There are some docs I've seen about certain bands or artists, and you're like, 'wait a minute, pull back a second, I just want to know what's going on around this band',\" Haynes says. \"I don't need to know immediately about all their personal stories and sex stories. I want to know who's making the music, but also what's happening in the music around them. In this case, [The Velvet Underground] is such a total portrait because they literally are almost indistinguishable from the process. The process in which they came together mirrors the process in which artists were moving around each other, and taking ideas from each other at that time, if not literally trying to explore different mediums of art themselves.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EAvoiding conventions\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWith the host of television and film on offer these days – from multiple streaming services to new cinema releases – there are tens of dozens of music documentaries released into the ether every year. In what remains of 2021, several as-yet-unreleased films have made the film festival rounds, such as Becoming Led Zeppelin and Hallelujah: Leonard Cohen, a Journey, a Song. The music documentary accounts for a large portion of the wider documentary industry: films like Framing Britney Spears\u003Cstrong\u003E,\u003C\u002Fstrong\u003E for example, prove to be popular crossover titles to an audience that may not be as inclined to watch documentaries on other subjects\u003Cstrong\u003E. \u003C\u002Fstrong\u003EBut this glut doesn't always result in consistently high quality. Lazy conventionality, unreliable narrators, record label interference or band members demanding final approval have always proven dangerous obstacles for documentarians.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-10"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The most extraordinary knowledge and writing come from oppression – people who are being oppressed at various stages and fighting through it, and standing up to it. That's where they learn the most about the time that they live in – Todd Haynes","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAs Phillips has it, \"I get frustrated when a documentary about a radical musician or band isn't itself artistically radical. The Velvet Underground looks like a Velvet Underground record sounds. It's discordant and sometimes overwhelming, it's brash; it's trying not to be like other music docs. Films made by fans can be problematic, but Todd Haynes made a piece of art and not a fan letter.\"\u003C\u002Fp\u003E\n\u003Cp\u003EHaynes, whose films often rethink and recast the past in fascinating ways (\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20151124-film-review-could-carol-win-best-picture\"\u003ECarol\u003C\u002Fa\u003E and Far from Heaven among them) is wary of the pitfalls of nostalgia in filmmaking. \"I find the word somewhat demeaning. Because I think there are ways of looking at the past and at our cultural, social, and artistic history, and that isn't really reducible to a kind of fetish for it. It feels like minimising the past in a way, and over-simplifying it to suit superficial elements, and thinking they're cool, like the way people dress and stuff like that. In a lot of ways we've learned a lot, and we're continuing to learn a lot, about remedying abuses from the past: racism and sexism and homophobic histories. But one also has to remember that the most extraordinary knowledge and writing come from oppression – people who are being oppressed at various stages and fighting through it, and standing up to it. That's where they learn the most about the time that they live in.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yfpnq"],"imageAlignment":"centre","imageAltText":"The Velvet Underground","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHis point could also apply to Summer of Soul, with the event it depicts having been dubbed the \"Black Woodstock\" among those who were there or knew of it, and which beyond its remarkable musical variety and talent, also has a deeply political bent – with Reverend Jesse Jackson and Mahalia Jackson offering words and music for the recently assassinated Martin Luther King, Jr; Gladys Knight and the Pips ending a song with a left-fist salute; and the Black Panthers themselves providing security for the event rather than letting the NYPD be involved. Rather than simply immersing us in the music, Summer of Soul is sure to let us in on the social and political import of its place in culture – and of the fact that, as activist Charlayne Hunter-Gault notes in the film, \"Black history is always erased\". In so doing, it sets out its intention to reclaim portions of cultural history that have been unfairly ignored.\u003C\u002Fp\u003E\n\u003Cp\u003EDisparate though their styles and scenes may be – from the idiosyncratic electro-pop of Sparks to the soul of Mahalia Jackson to the freewheeling hedonism of The Velvets – each of these films shows us something about how familiar conventions can be altered and deconstructed, reviving a vanished time and place with the benefit of hindsight. Perhaps the highest compliment you can pay each film is that even if you've never heard a note of their subjects' music, it's difficult not to be moved by their appreciation for the wild talent, the outsiderdom, and the cultivated weirdness that makes any great musician stick out from the crowd.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EThe Velvet Underground is available now on AppleTV+\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past-14"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-13T06:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"How The Velvet Underground film reclaims the past","headlineShort":"The greatest music films ever made","image":["p09yfpcy"],"imageAlignment":"centre","imageAltText":"","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fdocumentaries"],"summaryLong":"Todd Haynes' new film offers a fresh take on the seminal 60s band. It's one of several films this year that are breaking boundaries and challenging conventions.","summaryShort":"Why 2021 is a groundbreaking year for music documentaries","tag":null,"textToSpeech":false,"creationDateTime":"2021-10-13T05:00:22.496856Z","entity":"article","guid":"b772e3d7-5d6d-42c1-8ca9-a9e219169787","id":"culture\u002Farticle\u002F20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past","modifiedDateTime":"2021-10-15T12:45:15.169088Z","project":"culture","slug":"20211012-how-todd-haynes-the-velvet-underground-reclaims-the-past","cacheLastUpdated":1635188204722},"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century","_id":"616ff5d645ceed736d75264a","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fstephen-kelly"],"bodyIntro":"Denis Villeneuve has made the genre his own, marrying blockbuster scale and arthouse sensibility, writes Stephen Kelly.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThere is a scale to \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210903-four-stars-for-dune\"\u003EDenis Villeneuve's Dune\u003C\u002Fa\u003E that borders on the biblical. Monolithic spaceships hang like moons in the heavens. Worms the size of skyscrapers swim like sharks through the desert. Extreme wide shots frame the barren planet of Arrakis as a vast unknowable ocean of sand, its dunes fluttering in the wind like waves. And yet it is not only size that makes Dune one of the most striking science-fiction films of recent years. It is how it marries that grandeur with slow, atmospheric and considered filmmaking – where shots live long, and scenes breathe freely.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on\"\u003EThe erotic thriller that still shocks\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211006-no-time-to-die-why-bond-is-the-ultimate-spy-hero\"\u003E'The spy story to end all spy stories'\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance\"\u003EIs it time to revive the epic romance?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ESuch a balance between blockbuster scale and arthouse sensibility has come to typify the work of Denis Villeneuve, the French-Canadian director who, in the space of a decade, has risen to become one of the 21st Century's biggest, most challenging science-fiction filmmakers. Just take 2016's Arrival, a melancholy love story set around an alien language that allows the user to see through time; or Blade Runner 2049, the 2017 sequel whose moody exploration of what it means to be human thrilled critics but performed disappointedly at the box office. And now there's Dune, the long-awaited adaptation of Frank Herbert's sprawling 1960s magnum opus.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"He would probably be described as an auteur. He has a clear vision of what he wants to do – Helen O'Hara","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"It was a big leap up to Arrival. It was a very big leap up to Blade Runner 2049. It's been a leap even from there to Dune,\" says film journalist Helen O'Hara, \u003Ca href=\"https:\u002F\u002Fwww.empireonline.com\u002Fmovies\u002Ffeatures\u002Fdune-on-set-of-denis-villeneuve-science-fiction-epic\u002F\"\u003Ewho visited the set of Dune for Empire magazine\u003C\u002Fa\u003E. \"And I think that's because he's had pretty unfailingly good reviews throughout his career. Even when they haven't been massive box-office successes, he's been heralded for his undoubted talent and his very good eye… He would probably be described as an auteur. He has a clear vision of what he wants to do. He's very attracted to big ideas in his movies, and that's true of his smaller-scale dramas as well as his science fiction. Arrival is a 'big ideas' movie. Blade Runner 2049 was a 'big ideas' take on Blade Runner, which is itself a big ideas movie, and Dune is dealing with huge civilisation-wide questions.\"\u003C\u002Fp\u003E\n\u003Cp\u003EVilleneuve himself once described his career as a series of karate belts, with each film representing a step up in size and difficulty. With Dune, it's hard not to think that he is only one or two punches away from becoming a master.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ybmhq"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhen Denis Villeneuve first started to take meetings in Hollywood, he would tell any executive who would listen that he wanted to make a science-fiction movie. He had been a fan of the genre since he was a child, when he fell in love with films such as Blade Runner and 2001: A Space Odyssey. But, as a young independent filmmaker, he didn't have the means to fund the necessary special effects. As he once said himself, in response to a question on why he had suddenly turned away from grounded mid-budget dramas in favour of science fiction: \"I didn't turn \u003Cem\u003Eto\u003C\u002Fem\u003E science fiction, I went away from it.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECareer shift\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EVilleneuve's early films give a poor impression of the director he was to become. His 1998 debut, August 32nd on Earth, is a haphazard romcom full of frantic camera movement and jump cuts; while his follow-up, 2000's Maelstrom, is a surreal psychological drama narrated by a talking fish. He has since \u003Ca href=\"https:\u002F\u002Fpodcasts.apple.com\u002Fus\u002Fpodcast\u002Fdenis-villeneuve-director\u002Fid1510638084?i=1000483559123\"\u003Edismissed these efforts as arrogant and self-indulgent\u003C\u002Fa\u003E. Hence why he wouldn't make another film for nine years, focusing instead on helping to raise his children and better his craft.\u003C\u002Fp\u003E\n\u003Cp\u003EHe decided during that period that if he ever returned to directing it would be to make a film for others rather than himself. This led to 2009's Polytechnique, a stark black-and-white drama inspired by a misogynistic shooting at a Montreal university; before moving on to 2010's Incendies, a harrowing story about two Canadian siblings who travel to the Middle East to find their long-lost father and brother. Sober, measured, elegant – they were to be his calling card for Hollywood.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"I find Denis very thoughtful. He's not somebody who just directs from a script. He's always searching for something more than what's on a page – Roger Deakins","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"I really wanted to work with him when I saw Incendies,\" says cinematographer Roger Deakins, one of Villeneuve's most frequent and renowned collaborators. \"I said to my agent, 'if he ever makes a film in America, put my name in the hat'. And I was very lucky that Denis responded when he was about to do Prisoners.\"\u003C\u002Fp\u003E\n\u003Cp\u003EThe thematically bleak Prisoners, a 2013 drama starring Hugh Jackman as the violent father of a kidnapped child, represented something of a refinement of Villeneuve's directorial voice. His camera became even more restrained, content to linger upon the window of a shot for as long as possible before the cut. And even when the camera did move, it moved slowly, creeping like a killer. It's an austere style that worked well with Deakins' cinematography, famed for shrouding characters in blankets of shadow. They would work together again on 2015 cartel thriller Sicario, and in 2017 on Blade Runner 2049.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ybmdw"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"I find Denis very thoughtful,\" says Deakins. \"He's not somebody who just directs from a script. He's always searching for something more than what's on a page. His style of filmmaking is pretty exceptional these days. It probably owes more to Eastern-European or Japanese filmmaking than it does to American filmmaking.\" Deakins adds that he admires the fact that Villeneuve does not shoot a lot of coverage, referring to the process of surrounding a scene with multiple cameras. \"He says 'this is the shot', and basically that is what you shoot,\" he explains. \"I like spending time in prep. I like breaking a script down to its essence and a scene down into specific shots. I don't like going on to a set and just shooting every possible option. I like considered filmmaking. And Denis is that.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"One of the best science-fiction films ever made is Solaris. It's a much more thoughtful film than 2001, because it's about character – Roger Deakins","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe actor David Dastmalchian, who has appeared in Prisoners, Blade Runner 2049 and Dune, \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=EXRMn3AlUzQ\"\u003Eonce told The Hollywood Reporter\u003C\u002Fa\u003E that Denis Villeneuve \"is a genius… he's our generation's Stanley Kubrick\". A tad hyperbolic, perhaps, but you can see where he's coming from. Villeneuve himself cites 2001: A Space Odyssey as a major influence on his work. But Roger Deakins sees more in common with Russian filmmaker Andrei Tarkovsky, who used science fiction as a means to tell intimate, psychologically complex stories. \"One of the best science-fiction films ever made is [1972's] Solaris,\" he says, \"It's a much more thoughtful film than 2001, because it's about character. It's not about amazing special effects.\" The truth is probably somewhere between the two.\u003C\u002Fp\u003E\n\u003Cp\u003E\"He approaches everything, first and foremost, from a place of character and theme,\" explains Legendary Pictures' Mary Parent, a producer on Dune. \"And in science fiction, there are certainly filmmakers who approach it with an emphasis on fantastical worlds, which are incredible, but that can sometimes overwhelm everything else. But also, the authenticity of his worldbuilding is jaw-dropping. It's part of what makes his character stories so rich. It all feels incredibly real.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ybmtm"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThere is perhaps no better example of this approach than 2016's Arrival, the film that finally fulfilled Villeneuve's long-standing ambition to make science fiction. Written by screenwriter Eric Heisserer, who adapted it from a short story called Story of Your Life by Ted Chiang, it tells the tale of Louise, a linguist played by Amy Adams, who is recruited to make first contact with a race of aliens who have caused chaos by landing in 12 different locations on Earth. Like a lot of Villeneuve's science fiction, it grounds its more outlandish elements in sober realism (a sequence where people crowd around televisions to watch the news brings to mind 9\u002F11), but is unashamedly lyrical and sentimental too. \u003C\u002Fp\u003E\n\u003Cp\u003ECircles are a recurring theme in Villeneuve's work. You can see it in Incendies, with a family that is caught in an inter-generation cycle of misery and trauma. You can see it in the cruel worlds of Sicario and Prisoners, where violence only breeds more violence. But in Arrival, you can see the circles writhing in the air – a product of the aliens' unique written language, which takes the form of complete thoughts expressed instantly, with no beginning or end. Learning the language herself allows Louise to experience time as the aliens do: as a circle, with no distinction between present or future, beginning or end. This leads to her being haunted by visions of the dying child she is yet to have, of a cycle of time she is helpless to break. But even if you know it's coming, isn't the pain and grief worth the joy? Is it better to have loved and lost than to have never loved at all?\u003C\u002Fp\u003E\n\u003Cp\u003E\"I think people are quick to see coldness in science fiction,\" says O'Hara, \"and I don't think that's always fair. Arrival is very uncold, I think there's a lot of emotion bubbling under the surface. The fact that Amy Adams wasn't nominated for an Oscar is insane to me.\" O'Hara goes on to draw comparisons with another contemporary director famed for his big budget science fiction. \"I think he has a little bit more heart than Christopher Nolan. The fans might disagree with me on that, but I feel like Villeneuve has a bit more emotion in his films. I think he has much better female roles as well.\"\u003C\u002Fp\u003E\n\u003Cp\u003EAnd yet, unlike the more populist offerings of Nolan, perhaps Villeneuve's brand of slow and cerebral science fiction has its limits.\u003C\u002Fp\u003E\n\u003Cp\u003EAfter making waves with the critical and commercial success of Arrival, Villeneuve embarked on the greatest challenge of his career: making a sequel to Ridley Scott's 1982 science-fiction classic Blade Runner. Villeneuve was daunted by the task. \u003Ca href=\"https:\u002F\u002Fwww.slashfilm.com\u002F626984\u002Fdenis-villeneuve-thought-blade-runner-2049-couldve-ended-his-career\u002F\"\u003EIn a recent interview he talks about\u003C\u002Fa\u003E \"flirting with disaster\", and about fears that he may never work again. This was, he says, a potential act of sacrilege.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ybmnk"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESet 30 years after the original film, Blade Runner 2049 follows the story of Ryan Gosling's K, a dead-eyed replicant who helps the Los Angeles Police Department to hunt down and \"retire\" (kill) other replicants. It is a job that becomes complicated when he discovers evidence of a replicant who has given birth. \"I've never retired something that was born before,\" K tells his boss at one point. She asks him what the difference is. \"To be born is to have a soul, I guess.\"\u003C\u002Fp\u003E\n\u003Cp\u003EIt is, without a doubt, Villeneuve's most visually arresting film, with the director and Deakins using a range of rich colour schemes, textured lighting design and opulent science-fiction imagery to create a future you could not only taste and smell, but dread. \"Denis wanted to set everything in a reality that was stretched,\" says Deakins, referring to the film's climate-change overtones. \"So when we saw things like the red-dust storm that hit Sydney [in 2009], that became a template for Las Vegas. That's great science fiction: projecting into the future where science will go.\"\u003C\u002Fp\u003E\n\u003Cp\u003EBut Blade Runner 2049 is also one of Villeneuve's most difficult films. Clocking in at two hours and 43 minutes, it's a long and pensive noir, thick with themes of authenticity and alienation. What does it mean to be alive? It's a question asked by Blade Runner before, but this time comes with a subversive twist, as K finds out that he is not, as previously thought, the chosen one. But does being a nobody mean that his life is suddenly devoid of purpose? Or is meaning something that you make yourself? Such weighty questions make Blade Runner 2049 one of Villeneuve's best, most interesting films, but also one that returned $259 million on an estimated $300 million marketing-and-production budget.\u003C\u002Fp\u003E\n\u003Cp\u003E\"It is thoughtful,\" says Deakins. \"And I don't know if people want thoughtful films. I think that's the way the world is. I don't think it is just films. People aren't interested in looking deeper into things, they want instant gratification and instant solutions.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-14"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Simply put, is there a market big enough for science fiction this slow, cerebral and sombre, made on this sort of scale?","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBox office isn't everything in Hollywood. Sometimes, failing a total disaster, the awards and prestige of working with a visionary director is enough. But Blade Runner 2049's box-office performance does raise intriguing questions for Dune. The original book is notorious for its long and expansive story, layered with dense mythology, political machinations and a main character (Paul, played by Timothée Chalamet) who is plagued by visions of various possible futures. The first book is so long and expansive, in fact, that Villeneuve is hoping to tell it over the course of two parts (lest he repeats the errors of David Lynch's jarringly cramped 1984 version). But simply put, is there a market big enough for science fiction this slow, cerebral and sombre, made on this sort of scale?\u003C\u002Fp\u003E\n\u003Cp\u003E\"I really loved Blade Runner 2049,\" says Parent. \"I thought that it was an incredible film, but [Dune and Blade Runner 2049] are different offerings. They may be in the same genre, but the story of Dune is much more accessible and relatable. Blade Runner 2049, just by nature, storyline and being a noir, was a smaller film. Dune is more of an adventure story.\" How does she feel about their chances of making part two? \"We've opened the film on a limited basis internationally, we've yet to open in some of the bigger territories, but so far so good,\" she says. \"'Cautiously optimistic' is probably the best way to put it. I don't want to jinx anything… To Denis's credit, he's really balanced something that has all those [cerebral] elements but at the same time is very thrilling\".\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-16"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ybn49"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-17"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"I think that we underestimate audiences at our peril,\" says Helen O'Hara. \"I think that something like Dune has sold in book form for decades, and there's a reason for that. They're probably right to throw the dice and see how well a faithful film version does… Why did we get the idea that there has to be loads of gags in a sci-fi movie, you know? It can't all just be Guardians of the Galaxy, there has to be room for other stories as well. I do genuinely think there's an audience for this. It might not be Avengers Endgame-sized audiences, but it is a big enough audience, potentially, long-term, to keep this movie going.\"\u003C\u002Fp\u003E\n\u003Cp\u003EAnd even if Dune doesn't succeed, adds O'Hara, the fact that filmmakers like Denis Villeneuve exist, and that they're still being given the chances to make big risky movies within the major studio system, is at least something to be grateful for.\u003C\u002Fp\u003E\n\u003Cp\u003E\"It gives me hope,\" she says. \"The fact that a studio invested this much money in him, and his next film after Blade Runner was not a huge hit – I think that is a really good thing. That's what we want to see. We want to see good directors get multiple chances, especially if they make a good film that just doesn't do well at the box office. We want to see them get a follow-up film. I think it says good things that he's getting to make this, and I really, really hope it does well enough that he gets to make part two.\"\u003C\u002Fp\u003E\n\u003Cp\u003EAfter all, it is not like Denis Villeneuve to leave a circle incomplete.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century-18"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-12T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Denis Villeneuve: The sci-fi director of the 21st Century","headlineShort":"The sci-fi director of the 21st Century","image":["p09ybm8r"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fhollywood"],"summaryLong":"Denis Villeneuve has made the genre his own, marrying blockbuster scale and arthouse sensibility, writes Stephen Kelly.","summaryShort":"How Denis Villeneuve has made the genre his own","tag":["tag\u002Fhollywood"],"textToSpeech":false,"creationDateTime":"2021-10-11T16:50:33.319846Z","entity":"article","guid":"998f1175-e1aa-40c4-bf51-907f305ba309","id":"culture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century","modifiedDateTime":"2021-10-11T21:30:10.384656Z","project":"culture","slug":"20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century","cacheLastUpdated":1635188204722},"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on","_id":"616ff60445ceed03057eead7","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Farjun-sajip"],"bodyIntro":"David Cronenberg caused hysteria with his take on J G Ballard's novel about car crash fetishists. While it is less controversial now, it startles nevertheless, writes Arjun Sajip.","businessUnit":"public service","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOn Monday 3 June 1996, any Londoner who picked up a copy of the Evening Standard newspaper on their way home from the office would have paused when they reached the headline: \"A movie beyond the bounds of depravity\".\u003C\u002Fp\u003E\n\u003Cp\u003EThese words accompanied a fiery full-page diatribe penned by the Standard's film critic, Alexander Walker, deploring David Cronenberg's latest film Crash – an adaptation of the JG Ballard novel about a group of people who derive sexual pleasure from car crashes – in the strongest possible terms. An august commentator who had held his post at the Standard for 36 years, Walker was no prude: he had been an outspoken critic of censorship and a staunch defender of Stanley Kubrick's controversial 1971 film A Clockwork Orange, among other things.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E – \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210715-titane-the-most-shocking-film-of-2021\"\u003EWhy Titane is 2021's most provocative film\u003C\u002Fa\u003E\u003Cbr \u002F\u003E – \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210802-why-x-rated-masterpiece-the-devils-is-still-being-censored\"\u003EThe 1970s masterpiece still being censored\u003C\u002Fa\u003E\u003Cbr \u002F\u003E – \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20190913-can-cinema-still-shock\"\u003ECan cinema still shock?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ESo how could such a seasoned and liberal critic find a film so objectionable – so unopen to interpretation – that he argued it shouldn't be seen? Was this simply a case of a critic turning reactionary with age? Or was there something profoundly disturbing – and potentially harmful – about David Cronenberg's Crash?\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09y1w42"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ETwenty-five years on from Crash's original release, it is undoubtedly still a startling work that contains deeply challenging, even confrontational themes, and presents them in an intense, controlled, uncompromising way. For a start, the film's first scene is a sex scene. So is its second scene. And its third. When viewed for the first time, especially in a cinema, it feels discomfiting: partly because you're never quite sure when the onslaught of copulation will end, and partly because the third scene reveals that two of the lovers shown with different partners in the previous ones  are in fact a husband and wife, James and Catherine (James Spader and Deborah Kara Unger). Their sexual satisfaction comes from recounting that day's infidelity while having sex on a balcony overlooking a highway.\u003C\u002Fp\u003E\n\u003Cp\u003EThat highway is Highway 401, the Toronto section of which is, in real life, \u003Ca href=\"https:\u002F\u002Finternational.fhwa.dot.gov\u002Fpubs\u002Fpl07027\u002Fllcp_07_02.cfm\"\u003Ethe busiest highway in North America\u003C\u002Fa\u003E, and so \u003Ca href=\"https:\u002F\u002Fwww.collisionrepairmag.com\u002Fno-casualties-in-100-car-pileup-along-highway-401\u002F\"\u003Einfamous for crashes\u003C\u002Fa\u003E that \u003Ca href=\"https:\u002F\u002Fwww.chathamdailynews.ca\u002Fnews\u002Flocal-news\u002Fprovince-to-invest-67-8m-for-hwy-401-near-tilbury\"\u003Eone section has been dubbed Carnage Alley\u003C\u002Fa\u003E. You wouldn't know this from watching Crash: the flow of cars below James and Catherine's apartment, filmed in evening hues with an uncanny sumptuousness by cinematographer Peter Suschitzky, is regular, predictable, entirely conventional.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The 20th Century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; its strange love affair with the machine; with its own death – JG Ballard","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut a violent crash is what kicks off the film's plot. James loses control of his car during a night-time drive and swerves down a verge into oncoming traffic, driving into the blinding lights until his car crashes head-on into another. That car's passenger is flung headfirst through James's windshield, dying instantly. Stunned, James looks at the driver of the other car. It is a sharp-faced, brunette-bobbed stranger, Helen (Holly Hunter), whose natural reaction, upon seeing the author of her husband's death, is to remove her seatbelt and flash her breast to him.\u003C\u002Fp\u003E\n\u003Cp\u003EClearly it isn't just James and Catherine who are sexually deviant; it is a feature of the film’s world. Helen, whose attraction to James after their accident is very much mutual, inducts him into a group of car-crash fetishists led by Vaughan – by far the most sensuous and alive character in the film, and the figure around whose mysterious project the group coalesces. The final key figure to be introduced is Gabrielle (Rosanna Arquette), a mischievous young disabled woman with callipers clamped tightly around both her legs, who has been part of the group for some time, and who has a deep vulva-shaped scar on her thigh.\u003C\u002Fp\u003E\n\u003Cp\u003EThroughout the many sex scenes that follow, almost every possible permutation of couplings is realised. James and Helen. James and Gabrielle. Vaughan and Catherine. Vaughan and James. Helen and Gabrielle. The scenes are never explicit in a hardcore sense, but neither are they shy. The cars themselves come to play an increasingly significant role in the sexual logistics – stationary at first, then moving slowly through a car wash, and then, as Vaughan’s project approaches its endpoint, at high speed on the streets.\u003C\u002Fp\u003E\n\u003Cp\u003EWhat is Vaughan's project? Nothing more, and nothing less, than the ultimate merging of sex and car crashes – or the merging of sex and car crashes with the ultimate. If the French term for \"orgasm\" translates to \"little death\", Vaughan's dreams of sexual satisfaction are bigger: a grand death, with squealing tyres, crashing fenders, spinning wheels and shattered glass.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09y1w2g"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe root of its disturbing power\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ELate in the film, Vaughan delivers the line that, more than any other, sealed Crash's fate as a potentially offensive work: \"the car crash is a fertilising rather than a destructive event – a liberation of sexual energy that mediates the sexuality of those who have died with an intensity impossible in any other form.\"\u003C\u002Fp\u003E\n\u003Cp\u003EAutomobile accidents were nothing new in cinema, and indeed a wide range of films – from Bonnie and Clyde to Weekend to Badlands – had drawn links between cars, liberation, sex and death. These films can be described as \"existential romances\", which is also how Cronenberg \u003Ca href=\"https:\u002F\u002Fbooks.google.co.uk\u002Fbooks?id=prEUHH2jcWAC&pg=PA151&lpg=PA151&dq=%22existential+romance%22+crash&source=bl&ots=5LOwXKXeOW&sig=ACfU3U1-8cJ2rLMzk77iVYqh9mpO-y08Ig&hl=en&sa=X&ved=2ahUKEwjMlt_ZyKTzAhXJX8AKHSMECIcQ6AF6BAgIEAM#v=onepage&q=%22existential%20romance%22%20crash&f=false\"\u003Edescribed Crash\u003C\u002Fa\u003E. But while those three films and so many others have romanticised their protagonists, setting them against fusty authority figures or – in the case of Badlands – allowing the characters to romanticise themselves to each other, Crash is disturbing because it redraws the boundaries of what we might consider romantic. It takes conventional Hollywood erotic potential – the ethereally sensual performance of Unger and the boyishly handsome, leather-jacketed Spader – and puts it through the wringer, making us watch until our usual responses to sex in cinema have been exhaustively deconstructed. It doesn't just posit the deeply unsettling idea that car crashes can be \"fertilising rather than destructive\"; it explores this argument in good faith. That's what makes the film so disturbing.\u003C\u002Fp\u003E\n\u003Cp\u003EMost surprising of all, this was not an abstract intellectual exercise for either Ballard or Cronenberg: it was deeply personal. The protagonist's full name in both novel and film is, in fact, James Ballard, and Ballard the writer once described Crash as more autobiographical than his actual memoir, Empire of the Sun. \"These were my fantasies,\" said Ballard \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=fALlOTzAzM0\"\u003Eat a live interview event hosted by the Guardian\u003C\u002Fa\u003E around the release of the film, when asked why he named the character after himself; it gave the novel \"a degree of honesty that would be absent otherwise\".\u003C\u002Fp\u003E\n\u003Cp\u003EMeanwhile, when pondering what brought on the urge to make a film of the novel, Cronenberg, a certified motorhead, said that the novel \"had started a process in me that I could only complete by making a film of it, because that is my only means of exploring my reactions to things, and my understanding of my own life\".\u003C\u002Fp\u003E\n\u003Chr align=\"left\" size=\"1\" width=\"33%\" \u002F\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"I really did find the response to my film in the UK to be a kind of strange island response. There's a siege mentality in England, I think, and a fear of being contaminated – David Cronenberg","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut the story of Crash's origins stretches back farther than the novel. In 1970, three years before the novel was even published, Ballard unveiled a controversial three-week exhibition titled Crashed Cars at the New Arts Lab in London, which featured the three titular structures simply on display. The following year, he starred in a short experimental film titled Crash! for the BBC's Review series. Although it was inspired by a chapter from his previous novel, The Atrocity Exhibition, it already contains the seeds of Crash – not just Ballard's transfiguration of himself into his art, but a deeply thought-through meditation on the metaphysics of car crashes and the role of the car in the modern world.\u003C\u002Fp\u003E\n\u003Cp\u003E\"The 20th Century reaches its highest expression on the highway,\" says Ballard in the film. \"Everything is there: the speed and violence of our age, its strange love affair with the machine, with its own death.\" He goes on to ask in what many might judge an extreme provocation, \"Are we just victims in a totally meaningless tragedy, or does it in fact take place with our unconscious and even conscious connivance? Each year, hundreds of thousands are killed in car crashes all over the world. Are these arranged deaths? Arranged by the colliding forces of our technological landscape, by our own unconscious fantasies about power and aggression?\"\u003C\u002Fp\u003E\n\u003Cp\u003EThere was almost no way Hollywood could take this idea – not only that any of us could be a killer, but that we use consumer technology to simultaneously hide and realise our dangerous potential – to its logical conclusion without softening the blow of its implications. Any film that explored this concept fearlessly would have to come from outside the usual studio system, not least when sex was added to the mix, as in Ballard's vision. Indeed, the first film adaptation of Crash in 1986 was an unauthorised short, Nightmare Angel, directed and produced on a shoestring budget by two young women, Susan Emerling and Zoe Beloff.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09y1w0z"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut a larger budget – even if still set relatively low for a feature film, at $9 million – was required to get across the visionary, hard-hitting nature of the material. All the car scenes in Crash, particularly when the cars are in motion, have retained their impact largely because of their use of actual cars shot on location. Having real cars aggressively tailgating each other on real highways adds a layer of realism to the film that would not have been possible with computer-generated imagery or a micro budget; it brings it that much closer to our world.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe moral panic it caused\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EDespite, or more likely because of, its technical mastery and professionalism, Crash bruised audiences. The film's troubles began in May 1996, when it premiered at the Cannes Film Festival to a wildly divided reception. It is not rare for a film to be both cheered and jeered, but it is somewhat rarer for a Cannes jury to create a \"Special Jury Prize for originality, for daring and for audacity\", to circumvent the vehement dislike of a film harboured by the jury president – in this case Francis Ford Coppola, who refused to hand the award to Cronenberg personally.\u003C\u002Fp\u003E\n\u003Cp\u003ETwo weeks later, across the Channel, Walker's June screed was the prelude to a media furore that really kicked off in November following its first UK public screening at the London Film Festival. The Daily Mail and the Evening Standard \u003Ca href=\"https:\u002F\u002Fwww.bbfc.co.uk\u002Feducation\u002Fcase-studies\u002Fcrash\"\u003Elaunched a campaign to get the film banned\u003C\u002Fa\u003E, and succeeded in councils as far flung as Cardiff, Kirklees, Walsall, North Lanarkshire and London's Westminster – so the film could not even be seen in the West End.\u003C\u002Fp\u003E\n\u003Cp\u003EWhen, in March 1997, the British Board of Film Classification (BBFC) passed the film uncut despite intense pressure, the Mail's response, on its front page, was: \"Censor's Yes to Depraved Sex Film\". Not only did the paper doorstep the BBFC's examiners and publish articles about their private lives – reducing BBFC examiner Margaret Ford to tears on the doorstep of her home – it called on its readers to boycott the entire output of Sony, Crash's UK distributor.\u003C\u002Fp\u003E\n\u003Cp\u003EIt wasn’t just tabloid journalists that were fulminating over the movie. Crash had become a political hot potato in Whitehall: it was discussed in serious tones in the Home Office, and Heritage Secretary Virginia Bottomley also \u003Ca href=\"https:\u002F\u002Fwww.independent.co.uk\u002Fnews\u002Fcrash-faces-ban-from-west-end-1351586.html\"\u003Eencouraged local authorities to ban the film\u003C\u002Fa\u003E, even though she hadn't seen it. Speaking at the London Film Festival, Ballard said he believed such pronouncements arose from a \"panic\" that the then-Conservative government felt \"in the face of almost certain electoral defeat… they're climbing aboard every conceivable bandwagon\".\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-10"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The sex scenes are the movie. If viewers resist watching them for narrative, for character development, for the texture… they don’t get the movie – David Cronenberg","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn any case, the film made a profit worldwide; the heatedness of the UK's response to Crash appears to have been exceptional. \"I really did find the response to my film [in the UK] to be a kind of strange island response,\" said Cronenberg on the BBC debate series Heart of the Matter. \"There's a siege mentality in England, I think, and a fear of being contaminated… I've had reactions from about 40 countries, and nothing approaching the craziness I found in England.\"\u003C\u002Fp\u003E\n\u003Cp\u003EIn many ways, Crash is an uncontroversial work now: since its 4K restoration was unveiled last year, it has been widely hailed as a masterpiece. Yet its intentions remain elusive. At the Guardian live event, Ballard and Cronenberg themselves disagreed about whether it was ultimately a cautionary tale. According to Ballard, it had \"to be a cautionary tale, otherwise it’s a psychopathic statement,\"– a reading Cronenberg said that he found limiting. Ballard himself would later retract his description, \u003Ca href=\"https:\u002F\u002Fwww.bl.uk\u002F20th-century-literature\u002Farticles\u002Fan-introduction-to-crash\"\u003Ecalling the novel \"a psychopathic hymn\u003C\u002Fa\u003E\".\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09y1vvp"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOne of the more troubling aspects of the film is the fact that it dwells hardly at all on the chief consequence of engineering car crashes for sexual pleasure, namely that innocent people get killed. Indeed, Daily Mail journalist Christopher Tookey correctly countered Cronenberg’s observation that all the sex acts in the film are consensual: \u003Ca href=\"https:\u002F\u002Fbooks.google.co.uk\u002Fbooks?id=AZnWBQAAQBAJ&pg=PA111&lpg=PA111&dq=%22Cronenberg+and+his+accolytes%22&source=bl&ots=0pTeaYMBak&sig=ACfU3U1jcQxF6HjXDVdsyDdmvYR4RpYEyg&hl=en&sa=X&ved=2ahUKEwjkm9uj-7fzAhWROcAKHby_BZwQ6AF6BAgCEAM#v=onepage&q&f=false\"\u003Eas he pointed out\u003C\u002Fa\u003E, the sex acts themselves might be, but the crashes – an intrinsic part of the frisson – most definitely are not.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EHow it stands up today\u003C\u002Fstrong\u003E \u003C\u002Fp\u003E\n\u003Cp\u003ECronenberg's absolute commitment to showing, not telling, and his refusal to adorn the film with any visible moral framework, a responsibility he entrusted to the audience, made the film feel radically uncompromising. Crash was unquestionably \u003Cem\u003Esui generis\u003C\u002Fem\u003E: BBFC head James Ferman said it was \"a one-off\", and that \"there'd never been anything [like it]… we couldn't compare it to anything\". But by that same token, Crash also felt like a culmination, too final and absolute in its ideas (and the execution of its ideas) to act as a departure point for any other filmmakers to follow. It created a genre that only it occupied – until this year, that is, when Julia Ducournau's Titane appeared. Faring better than Crash at the Cannes Film Festival by actually winning the Palme d'Or, Titane also links sex, cars and violence, while updating certain of Crash's themes for the 21st Century and making technology seem even more giddily invasive: for one thing, Titane's protagonist has sex with, not just in, a car.\u003C\u002Fp\u003E\n\u003Cp\u003ENonetheless, Crash remains sexually transgressive. Though it broke no boundaries for sexual explicitness, it unmoored sex in cinematic terms from its biological underpinnings, from its conventional association with romance, and from being any kind of plot point or crowd-pleaser. Alexander Walker may have complained that the characters are \"defined solely in terms of their sexual obsessions\", but for Cronenberg, this was part of the point. \"The sex scenes are the movie,\" \u003Ca href=\"https:\u002F\u002Fbooks.google.co.uk\u002Fbooks?id=Eph3leyfK2kC&pg=PA5&lpg=PA5&dq=%22for+character+development,+for+the+texture%22&source=bl&ots=yd2sDQq62W&sig=ACfU3U2k7KxGX5ZWijaCKpL7_5nh7rPldQ&hl=en&sa=X&ved=2ahUKEwjQi9jY_bfzAhWNYcAKHRC5A3QQ6AF6BAgCEAM#v=onepage&q=%22for%20character%20development%2C%20for%20the%20texture%22&f=false\"\u003Ehe said\u003C\u002Fa\u003E in one interview. \"If [viewers] resist watching them for narrative, for character development, for the texture… they don't get the movie.\"\u003C\u002Fp\u003E\n\u003Cp\u003EMany audiences were also not prepared for the sexualised depiction of its disabled character, Gabrielle. On the one hand, there was a view that this portrayal was offensive, amounting to what Tookey called \"orthopaedic fetishism\". But on the other, the BBFC, being mindful of this, screened the film to a group of 11 disabled people and \u003Ca href=\"https:\u002F\u002Fwww.bbfc.co.uk\u002Feducation\u002Fcase-studies\u002Fcrash\" target=\"_blank\"\u003Efound that\u003C\u002Fa\u003E while \"the invited group did not generally enjoy the film, they concluded that its depiction of disabled people as being able to be both sexually attractive and active [was] generally a positive thing.\" What's more, Cronenberg \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=fbUz9lbGhrM\" target=\"_blank\"\u003Etold the BBCs Heart of the Matter\u003C\u002Fa\u003E that \"I've had several people write me and call me saying that for the disabled, [Gabrielle] is an icon, a heroine, because she is someone who refuses to become a withered, sexless creature [after her] accident; in fact, she is very proud and strong in her own sexuality and eroticism, and is trying to incorporate her own body into her sexuality, rather than trying to cover up or pretend [her disability] is not there.\"\u003C\u002Fp\u003E\n\u003Cp\u003EIndeed, one of the most intriguing readings of Crash is that it is perversely hopeful. Viewed now, at a time when the pervasive sexlessness of mainstream cinema is regularly bemoaned by cineastes, Crash seems especially bracing: its characters will do anything for sexual connection with a consenting partner. To many viewers, this is overwhelmingly dark. But Cronenberg for one sees things differently. \"Personally, I don’t think the movie is depressing at all,\" \u003Ca href=\"https:\u002F\u002Fascmag.com\u002Farticles\u002Fcrash-driver-039-s-side\"\u003Esaid the Canadian provocateur\u003C\u002Fa\u003E in an interview with American Cinematographer. \"The characters don't just cave into the empty, lifeless situation that they find themselves in. They seek life, even if they're seeking it through death or danger. And I think that's very human.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Chr align=\"left\" size=\"1\" width=\"33%\" \u002F\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on-14"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-08T10:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Why twisted erotic thriller Crash still stuns, 25 years on","headlineShort":"The erotic thriller that still shocks","image":["p09y1vt0"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"David Cronenberg caused hysteria with his take on J G Ballard's novel about car crash fetishists. While it is less controversial now, it startles nevertheless, writes Arjun Sajip.","summaryShort":"Why David Cronenberg's infamous Crash continues to startle, 25 years on","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2021-10-08T09:15:32.238245Z","entity":"article","guid":"e9eb44cd-977b-4420-9c87-6d7426647502","id":"culture\u002Farticle\u002F20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on","modifiedDateTime":"2021-10-15T14:26:50.886433Z","project":"culture","slug":"20211007-why-twisted-erotic-thriller-crash-still-stuns-25-years-on","cacheLastUpdated":1635188204723},"culture\u002Farticle\u002F20211006-no-time-to-die-why-bond-is-the-ultimate-spy-hero":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211006-no-time-to-die-why-bond-is-the-ultimate-spy-hero","_id":"616ff5d945ceed7dff199aa3","ambientVideo":"","articleType":"video","assetVideo":["p09ymsrp"],"author":null,"bodyIntro":"With Bond, Ian Fleming set out to create \"the spy story to end all spy stories\". How did his 007 become the world's quintessential secret agent?","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAlmost 70 years after Fleming's debut novel was published, every other spy in books and film is still compared to his suave, stylish and apparently indestructible hero.\u003C\u002Fp\u003E\n\u003Cp\u003EBut what is it about James Bond's luxury travel-loving, womanising, martini-drinking character that stands head and shoulders above the rest?\u003C\u002Fp\u003E\n\u003Cp\u003EIn this video, BBC Culture takes a journey back in time to the origins of the spy story to find out why Fleming's 007 – who the writer originally intended to be \"a dull, uninteresting man\" – has endured for so long.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EClick play on the video above to find out more.\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnimator Daire Collins; producers Daniel John and Rebecca Laurence; script and voiceover Nicholas Barber\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211006-no-time-to-die-why-bond-is-the-ultimate-spy-hero-0"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-07T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Why Bond is the ultimate spy hero","headlineShort":"'The spy story to end all spy stories'","image":["p09x6171"],"imageAlignment":"centre","imageAltText":"Daniel Craig in No Time To Die","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"With Bond, Ian Fleming set out to create \"the spy story to end all spy stories\". How did his 007 become the world's quintessential secret agent?","summaryShort":"How James Bond became the ultimate secret agent","tag":["tag\u002Fcelebrating-bond"],"textToSpeech":false,"creationDateTime":"2021-10-06T23:01:00.079232Z","entity":"article","guid":"05931325-f686-4cba-b012-5a4db2057bbf","id":"culture\u002Farticle\u002F20211006-no-time-to-die-why-bond-is-the-ultimate-spy-hero","modifiedDateTime":"2021-10-14T11:38:09.336176Z","project":"culture","slug":"20211006-no-time-to-die-why-bond-is-the-ultimate-spy-hero","cacheLastUpdated":1635188204723},"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns","_id":"616ff5d945ceed7d5c41c2d5","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"From grudge match to high-stakes battle, cinema's ultimate face-offs all make for classic movie moments. Nicholas Barber rounds up his top tussles.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"infographic","image":["p09xpv75"],"imageAlignment":"centre","imageAltText":"Last Duel","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-0"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe duel in The Last Duel is a long time coming. Ridley Scott's Medieval drama has been underway for two hours before Matt Damon and Adam Driver get on their horses, grab their lances, and gallop towards each other – and by then we know their characters, we know why they're ready and willing to fight to the death, and we know what's at stake in the wider world of 14th-Century France. In other words, Scott has laid all the groundwork necessary for a classic big-screen showdown. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october\"\u003ETwelve films to watch this October\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance\"\u003EIs it time to revive the epic romance?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made\"\u003EAmélie – the most stylish film ever made?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIt's always a treat when such a showdown arrives. Cinematic battles between rival armies and sports teams can be impressive, but nothing is as satisfying as the moment when two arch-enemies get up close and personal for a one-on-one, winner-takes-all face-off. Filmmakers know that it's a make-or-break scene. Viewers know that everything they've seen in the previous hour or two will be resolved. In real life, disputes are rarely settled so quickly or decisively – which is probably a good thing. But in films, showdowns offer us the fantasy of an all-out, no-holds-barred path to ultimate victory or defeat. Here are 10 of the best – and the 10 elements which make them so rewarding.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-1"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xpdzd"],"imageAlignment":"centre","imageAltText":"From Russia with Love","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-2"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe high stakes\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EJames Bond (Sean Connery) vs Red Grant (Robert Shaw) in From Russia with Love (1963)\u003C\u002Fp\u003E\n\u003Cp\u003EWinner: James Bond, of course\u003C\u002Fp\u003E\n\u003Cp\u003EOne of cinema's most brutal brawls is confined to a small space – a pair of cramped train compartments – but the stakes are vast. Before the first punch is thrown, James Bond and Red Grant have the kind of civilised hero-vs-villain chat which is a Bond speciality: The Man with the Golden Gun and Dr No contain two notable examples. In this instance, their discussion establishes that Grant plans to murder both Bond and Tatiana Romanova, to ruin their reputations in the press, and to pass the Lektor cipher machine to his Spectre superiors. It also establishes that Grant is a thoroughly nasty piece of work. To paraphrase footballer Bill Shankly, their showdown isn't a matter of life and death, it's much, much more important than that. The makers of the Last Duel take care to convey what's at stake in their jousting match, too: without giving anything away, it's not just the lives of the combatants that depend on its outcome.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-3"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xphfp"],"imageAlignment":"centre","imageAltText":"Star Wars","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-4"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe anticipation\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ELuke Skywalker (Mark Hamill) vs Darth Vader (Dave Prowse \u002F James Earl Jones) in \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200430-star-wars-why-the-empire-strikes-back-is-overrated\"\u003EStar Wars: The Empire Strikes Back\u003C\u002Fa\u003E (1980)\u003C\u002Fp\u003E\n\u003Cp\u003EWinner: Darth Vader\u003C\u002Fp\u003E\n\u003Cp\u003EThe two-hour build-up in The Last Duel? That's nothing compared to what George Lucas put us through 40 years ago. Luke Skywalker had posed with his lightsaber on the posters advertising the first Star Wars film, but audiences didn't get to see him cross swords with Darth Vader (or anyone else) until near the end of the second one. Their lightsaber fight remains the most memorable of the showdowns in the Star Wars series, thanks to its atmospheric range of spooky Cloud City locations, and the way each buzzing and crackling burst of combat is punctuated by musings on whether the enemies should really be allies. And let's not forget the revelation that Darth is (spoiler alert) Luke's father. But none of it would have been so momentous if Star Wars fans hadn't been kept waiting for three agonising years for the two men to reach this point.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-5"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xpdps"],"imageAlignment":"centre","imageAltText":"Rocky","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-6"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe preparation\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ERocky Balboa (Sylvester Stallone) vs Ivan Drago (Dolph Lundgren) in Rocky IV (1985)\u003C\u002Fp\u003E\n\u003Cp\u003EWinner: Rocky Balboa\u003C\u002Fp\u003E\n\u003Cp\u003EThe Rocky films all wend their way towards the third-act slugfest between Rocky Balboa and whoever he happens to be up against in that particular episode. When the fourth film came around, Sylvester Stallone realised that the stakes had to be absurdly high, and so they are: not only is Balboa getting his revenge on the gold medallist who killed his buddy Apollo Creed earlier in the film, he is also a soldier in the Cold War between the US and the USSR. No pressure. But Stallone has always appreciated the importance of another showdown component: the preparation that goes into it. Pulling sleighs through the snow! Chopping down trees! And all while your opponent is plugged into a zillion rubles' worth of computerised exercise gizmos. A Rocky film is nothing without a ludicrous training montage, and they don't get any more ludicrous than this one.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-7"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xph54"],"imageAlignment":"centre","imageAltText":"Once Upon a Time in the West","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-8"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe grudge match\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EFrank (Henry Fonda) vs Harmonica (Charles Bronson) in Once Upon a Time in the West (1968)\u003C\u002Fp\u003E\n\u003Cp\u003EWinner: Harmonica\u003C\u002Fp\u003E\n\u003Cp\u003EThe duel between the sadistic Frank and the mystery man known only as Harmonica is over in no time: there are no cunning tactics, no athletic ducking and diving; just one man being quicker on the draw than the other. It's still a masterly showdown, though, because Sergio Leone takes the Western trope of the pre-duel stand-off to its monumental limit, increasing the tension for seven full minutes while the guns are still in their holsters. First there is the duellists' slow, careful striding into position on a dusty landscape. (See also: the samurais' trek up the hill in Masaki Kobayashi's Harakiri.) Then there are the extreme close-ups of the suspicious Frank and the stone-faced Harmonica, accompanied by \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200709-what-makes-the-ultimate-film-soundtrack\"\u003EEnnio Morricone's slicing guitar twangs and ghostly harmonica wails\u003C\u002Fa\u003E. And then, at last, a flashback reveals why Charles Bronson's character is determined to kill Henry Fonda's. When Harmonica was a boy, his brother was strung up by Frank, and Harmonica was forced to participate. Their score-settling, then, could hardly be more personal, which is one reason why it is so riveting. The funny thing is that a showdown can be personal even when it doesn't have two people in it: for proof, see Ripley's hatred of the Alien queen in Aliens, and Brody's hatred of the shark in Jaws.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-9"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xrsn8"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-10"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe perfect match\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EBeatrix Kiddo (Uma Thurman) vs Elle Driver (Daryl Hannah) in Kill Bill: Volume 2 (2004)\u003C\u002Fp\u003E\n\u003Cp\u003EWinner: Beatrix Kiddo\u003C\u002Fp\u003E\n\u003Cp\u003EMost showdowns are between two evenly matched opponents. The excitement comes from believing that either one of them could win (even if you know that it will probably be the goodie). Quentin Tarantino has fun with this notion in Kill Bill: Volume 2. Of all the people Beatrix Driver kills on her way to killing Bill, none is more similar to her than Elle Driver. Both are tall blonde female members of the Deadly Viper Assassination Squad; both have names, Bea and Elle, that sound like letters. Tarantino often shoots them as mirror images, using identical weapons in identical ways. At one stage he even has them connecting with identical kicks, and then uses a split screen to show them falling down and getting up in exact parallel. Unfortunately for Elle, Bea has one crucial advantage which lets her blindside her doppelganger...\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-11"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xph0r"],"imageAlignment":"centre","imageAltText":"Blade Runner","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-12"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe mismatch\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ERick Deckard (Harrison Ford) vs Roy Batty (Rutger Hauer) in Blade Runner (1982)\u003C\u002Fp\u003E\n\u003Cp\u003EWinner: Roy Batty\u003C\u002Fp\u003E\n\u003Cp\u003ENot all opponents are quite as balanced as Bea and Elle (above). Some films tweak the formula by putting the protagonist up against a far more formidable antagonist, so we aren’t hoping that the hero will win: all we’re hoping is that they’ll survive. There are versions of this showdown in The Shining and The Terminator, but it's hard to top Rick Deckard and Roy Batty's epic game of hide and seek in Blade Runner. \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20191111-are-we-living-in-a-blade-runner-world\"\u003EThe rain, the darkness, the crumbling building\u003C\u002Fa\u003E, Roy's poetic farewell speech... everything in this sequence is awe-inspiring, but one key aspect is that the replicant outmatches the exhausted bounty hunter who has been tracking him down. Hauer is like a demigod, and Ford, however many tough guys he has played, is better than anyone at action scenes in which he looks scared, tired, and downright groggy.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-13"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xph7h"],"imageAlignment":"centre","imageAltText":"The Mark of Zorro","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-14"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe expertise\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ECaptain Esteban Pasquale (Basil Rathbone) and Don Diego \"Zorro\" Vega (Tyrone Power) in The Mark of Zorro (1940)\u003C\u002Fp\u003E\n\u003Cp\u003EWinner: Zorro\u003C\u002Fp\u003E\n\u003Cp\u003ESometimes a showdown is elevated by the sheer breath-taking skill of the combatants – and few actors were more skilled with a sword than Basil Rathbone, a former British Army fencing champion. His most influential bout is the one in The Adventures of Robin Hood in which he and Errol Flynn thrust and parry their way through a castle, but the most thrilling has to be his rapier duel with Tyrone Power in Rouben Mamoulian's The Mark of Zorro. Captain Esteban Pasquale and Don Diego Vega never stray from one office, and there are no tricks or gimmicks, just plenty of long takes so we can see that both men knew what they were doing. Such is the ferocity and speed of the whipping blades, it seems amazing that either Rathbone or Power got out of the scene alive. In some shots, Power had a fencing double, but Rathbone still said in his autobiography: \"Power was the most agile man with a sword I've ever faced before a camera. Tyrone could have fenced Errol Flynn into a cocked hat.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-15"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xqft8"],"imageAlignment":"centre","imageAltText":"Matrix","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-16"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe transformation\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ENeo (Keanu Reeves) vs Agent Smith (Hugo Weaving) in The Matrix (1999)\u003C\u002Fp\u003E\n\u003Cp\u003EWinner: Mr Anderson? No: \"My name is Neo.\"\u003C\u002Fp\u003E\n\u003Cp\u003ESome showdowns have a vital narrative purpose that goes beyond one person defeating another. They're really about one person proving how far they've come by demonstrating abilities they didn't have before. In Little Shop of Horrors, Audrey II blossoms from a carnivorous plant to a towering, multi-headed mean green mother from outer space. In The Sword and the Stone, Merlin teaches Arthur how to outwit Madam Mim. In The Matrix, Neo's fight with Agent Smith starts by showing that he is now a superhuman martial artist, and goes on to show him as The One who can stop a hail of bullets in mid-air with a flick of his hand. The effects and the choreography are stunning, but the essential point is summed up by Morpheus's comment: \"He's beginning to believe.\" \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-17"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xphmr"],"imageAlignment":"centre","imageAltText":"Halloween","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-18"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe final girl\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ELaurie Strode (Jamie Lee Curtis) vs Michael Myers (Nick Castle) in Halloween (1978)\u003C\u002Fp\u003E\n\u003Cp\u003EWinner: Laurie Strode (with a little help from Sam Loomis)\u003C\u002Fp\u003E\n\u003Cp\u003EIn her 1992 book, Men, Women, and Chainsaws: Gender in the Modern Horror Film, Carol J Clover identified the \"final girl\", the sole female survivor of a killing spree in a slasher movie who then has a climactic confrontation with \"the boogeyman\". Sally in The Texas Chainsaw Massacre is an early example, but the final girl who sets the standard is Laurie Strode in Halloween. When she and Michael Myers come face to masked face, Laurie quite reasonably shrieks and runs from the maniac who has been stalking her around Haddonfield. But soon she is giving as good as she gets, stabbing him with a knitting needle, a wire coat-hanger and a knife in quick succession. In fact, she is so adept with sharp objects, and yet so traumatised by the ordeal, that (hot-take alert) it feels like a wasted opportunity that John Carpenter and Debra Hill (the film's co-writers) didn't turn her into the main killer in Halloween II. On the other hand, Laurie's career as a final girl has been outstanding: more than 40 years since they first got their knives out, she is still fending off Michael in Halloween Kills, released this month.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-19"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xpgtk"],"imageAlignment":"centre","imageAltText":"The Third Man","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-20"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe battle of wills\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EHolly Martins (Joseph Cotten) vs Harry Lime (Orson Welles) in The Third Man (1949)\u003C\u002Fp\u003E\n\u003Cp\u003EThe winner: Harry Lime\u003C\u002Fp\u003E\n\u003Cp\u003EThey're not always physical, of course. Some of the most vicious showdowns involve verbal sparring alone. In Carol Reed's The Third Man, scripted by Graham Greene, an American author reunites with a former friend on Vienna's Wiener Riesenrad ferris wheel. Holly Martins fights his corner manfully, but he can't land a blow on the insouciant, amoral Harry Lime, whose mischievous jibes and impish smile make his evil all the more sinister: this is a racketeer who is bothered more by his indigestion than by the deaths from which he has profited. He mentions the gun in his pocket, but he doesn't have to resort to violence: as in Hannibal Lecter's dealings with Clarice Starling in \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20170307-why-the-silence-of-the-lambs-is-a-feminist-fable\"\u003EThe Silence of the Lambs\u003C\u002Fa\u003E, brains and confidence are all that's needed to get the upper hand.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-21"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xq38k"],"imageAlignment":"centre","imageAltText":"Heat","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-22"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe actors\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EVincent Hanna (Al Pacino) vs Neil McCauley (Robert DeNiro) in Heat (1995)\u003C\u002Fp\u003E\n\u003Cp\u003EWinner: It's a draw, for now\u003C\u002Fp\u003E\n\u003Cp\u003EHeat boasts one of the loudest, bloodiest shoot-outs ever staged, but the film's highpoint is a short scene in which two men have a tete-a-tete in a restaurant. According to Michael Mann, the writer-director, the sequence is based on an actual meeting between the real police detective and bank robber who inspired the characters. Whatever its origins, though, what mattered to audiences was getting to see two New York acting legends and old friends, Al Pacino and Robert DeNiro, playing opposite each other at long last. (They were both in The Godfather Part II, but never in the same scene.) If different actors had starred as Vincent Hanna and Neil McCauley, the dialogue wouldn't have had much of a charge, but sometimes a showdown is less about the characters than what the actors bring to them. On a slightly less Oscar-worthy note, this rule holds true for the tussle between Dwayne Johnson and Vin Diesel in Fast & Furious 5.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns-23"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-05T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The Last Duel: Cinema's 11 best showdowns","headlineShort":"The 11 best big-screen showdowns","image":["p09xqft8"],"imageAlignment":"centre","imageAltText":"Matrix","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"Matrix","promoImage":["p09xqft8"],"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"From grudge match to high-stakes battle, cinema's ultimate face-offs all make for classic movie moments. Nicholas Barber rounds up his top tussles.","summaryShort":"From grudge match to high-stakes battle – these are cinemas ultimate face-offs","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2021-10-04T23:00:33.928272Z","entity":"article","guid":"7a695d31-82cc-412a-8ad6-4c2bd2fc620b","id":"culture\u002Farticle\u002F20211004-the-last-duel-cinemas-10-best-showdowns","modifiedDateTime":"2021-10-05T09:30:47.024238Z","project":"culture","slug":"20211004-the-last-duel-cinemas-10-best-showdowns","cacheLastUpdated":1635188204723},"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october","_id":"616ff5b345ceed60c73741b3","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"Nicholas Barber picks this month's must-see releases, including sci-fi epic Dune, a Velvet Underground documentary and Wes Anderson's latest offering.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"infographic","image":["p09xc9y7"],"imageAlignment":"centre","imageAltText":"Antlers","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-0"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EAntlers\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIn the latest horror-drama to be produced by Guillermo del Toro, a school teacher (Keri Russell) and a sheriff (Jesse Plemons) suspect that a supernatural creature is lurking near their small Oregon town. Not that Antlers is a straightforward monster movie. The story is rooted in Native American tales of the Wendigo, so the director, Scott Cooper (Hostiles), consulted Professor Grace L Dillon, \"the country's foremost authority\" on the subject. She \"really educated me that for Native Americans, First Nations, it's not folklore, it's not a myth,\" \u003Ca href=\"https:\u002F\u002Fwww.indiewire.com\u002F2020\u002F07\u002Fguillermo-del-toro-antlers-creature-1234576247\u002F\"\u003ECooper told Indiewire.\u003C\u002Fa\u003E \"They truly, truly believe in it, because it represents greed and colonialism when we first came to the shores of what is now America, and pillaged all of their resources and forced them [into] cannibalism... out of that rose the Wendigo.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 28 October in Australia and New Zealand, and 29 October in the UK, Ireland, the US and Canada\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-1"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xc8dp"],"imageAlignment":"centre","imageAltText":"Mass","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-2"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EMass\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ESpecial effects and exotic vistas are all very well, but sometimes it can be even more electrifying to see four actors having a quiet conversation in a small room. In Mass, Fran Kranz's writer-directorial debut, Jason Isaacs, Martha Plimpton, Ann Dowd, and Reed Birney play two couples who meet in grim circumstances. Years earlier, the son of one couple murdered the son of the other in a school shooting. Now, on the advice of a therapist, the four grief-racked parents meet in a church to talk over what happened. Kranz's devastating chamber piece \"is a beautifully-judged and tender work that attempts to reckon with the unthinkable,\" \u003Ca href=\"https:\u002F\u002Flwlies.com\u002Ffestivals\u002Fmass-sundance-review\u002F\"\u003Esays Hannah Strong in Little White Lies.\u003C\u002Fa\u003E \"It's a study of human pain and anger in painstaking detail, supported by a script which is hauntingly realistic without dipping into mawkish or exploitative territory.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 8 October in the US and 15 October in Canada\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-3"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xc8rq"],"imageAlignment":"centre","imageAltText":"Velvet underground","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-4"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe Velvet Underground\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ETodd Haynes directed a biopic of Iggy Pop and David Bowie (Velvet Goldmine) which turned the singers into fictional characters, and a biopic of Bob Dylan (I'm Not There) in which six different actors (including Cate Blanchett) played the lead role. Unsurprisingly, then, his affectionate documentary about The Velvet Underground is more idiosyncratic than the average rock-doc. Using a split-screen format throughout, the film explores New York's art scene in the 1960s, uncovering the bruising childhoods and avant-garde influences that were shared by the band's fractious founder members, Lou Reed and John Cale. \"A brilliantly told story, which causes hearts to soar and break in equal measure,\" \u003Ca href=\"https:\u002F\u002Fwww.heyuguys.com\u002Fthe-velvet-underground-review\u002F\"\u003Esays Jo-Ann Titmarch at HeyUGuys\u003C\u002Fa\u003E, \"Haynes' evocation of the band and the time is vivid and loving. If you love music then you'll love this film.\"\u003C\u002Fp\u003E\n\u003Cp\u003EOn Apple TV+ from 15 October\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-5"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xc7t2"],"imageAlignment":"centre","imageAltText":"Last Night in Soho","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-6"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ELast Night in Soho\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EEdgar Wright's sumptuously weird time-travel horror-comedy stars Thomasin McKenzie (Jojo Rabbit) as a fashion student who is stressed by life in noisy, aggressive central London. She is happier when she slips back to the glamour of the swinging '60s, where her identity merges with that of an aspiring singer, Anya Taylor-Joy (The Queen's Gambit). But maybe Soho in the 1960s has a threatening side, too. \u003Ca href=\"https:\u002F\u002Fwww.thewrap.com\u002Flast-night-in-soho-film-review-edgar-wright-anya-taylor-joy-thomasin-mckenzie\u002F\"\u003EJason Solomons in The Wrap says\u003C\u002Fa\u003E that \"this is by far the director's best film since his Shaun of the Dead debut, using a soundtrack of The Kinks, Walker Brothers, Cilla Black and Dusty Springfield to propel us on a hugely enjoyable, campy and stylish, yet genuinely scary path that also touches on mental health issues, sexual predators and the demons of creativity\". Last Night in Soho also features sterling performances from two '60s icons, Terence Stamp and the late Diana Rigg, in her final role.\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 22 October in Canada and 29 October in the UK, Ireland and the US\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-7"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xc94w"],"imageAlignment":"centre","imageAltText":"Lamb","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-8"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ELamb\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EMaria (Noomi Rapace) and Ingvar (Hilmir Snær Guðnason) run a sheep farm together in a remote Icelandic valley. Neither of them has been happy since the loss of their daughter, so when they find another child to adopt, they don't hesitate... never mind that the baby has rather more hooves and wool than you'd expect a baby to have. What's stranger still is that the smitten couple treats the child as if she is perfectly normal, which makes Valdimar Jóhannsson's atmospheric folk horror\u002F deadpan comedy both explosively funny and spine-tinglingly eerie. \"Jóhannsson's stunningly assured first feature... is a disturbing experience,\" \u003Ca href=\"https:\u002F\u002Fwww.hollywoodreporter.com\u002Fmovies\u002Fmovie-reviews\u002Flamb-cannes-2021-1234982115\u002F\"\u003Esays David Rooney in The Hollywood Reporter\u003C\u002Fa\u003E, \"but also a highly original take on the anxieties of being a parent, a tale in which nature plus nurture yields a nightmare\".\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 8 October in the US and 14 October in Australia\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-9"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xd59d"],"imageAlignment":"centre","imageAltText":"French Dispatch","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-10"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe French Dispatch\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWes Anderson fans rejoice: the writer-director's 10th film is his most Wes Anderson-ish ever. In \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210712-the-french-dispatch-four-stars-for-wes-andersons-latest\"\u003EThe French Dispatch\u003C\u002Fa\u003E, he takes his meticulous style to new extremes, so barely a frame goes by that isn't ornamented with a split screen, a freeze frame, a sans serif caption, a florid voiceover, or a switch between monochrome and garish colour. Beneath all these elaborate quirks is an anthology of three whimsical short stories set in the fictional French town of Ennui-sur-Blasé, and supposedly drawn from the pages of a New Yorker-style magazine in the mid-20th Century. Timothée Chalamet, Benicio del Toro and Léa Seydoux star alongside such Anderson regulars as Bill Murray, Owen Wilson, Tilda Swinton and Jason Schwartzman. \"While it is sometimes hard to keep up with the dizzying level of detail and whirlwind storytelling,\" says \u003Ca href=\"https:\u002F\u002Fhyperallergic.com\u002F662160\u002Fwes-anderson-french-dispatch-conjures-confectionary-vision-of-france\u002F\"\u003ESophie Monks Kaufman in Hyperallergic\u003C\u002Fa\u003E, \"it is a consummate pleasure to be in the world of The French Dispatch\". \u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 22 October in the UK, Ireland, the US and Canada\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-11"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xc8mm"],"imageAlignment":"centre","imageAltText":"The Show","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-12"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe Show\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAlan Moore is one of the most important figures in cinema today, even though he has never worked on a film before. What he has done is write countless game-changing graphic novels, several of which have been adapted into films (Watchmen, V For Vendetta, From Hell, The League of Extraordinary Gentlemen), and several more of which have had a vast influence on 21st-Century superhero blockbusters. Now at last he has scripted a film of his own, directed by Mitch Jenkins. The Show is a detective yarn about a mystery man (Tom Burke) scouring the streets of Northampton for a jewel thief (Darrell D'Silva), but it's also a surreal, magical, nocturnal odyssey. \"An unrepentantly trippy Noir that assaults the senses, cackling all the while,\" says \u003Ca href=\"https:\u002F\u002Fwww.ign.com\u002Farticles\u002Fthe-show-review-alan-moore\"\u003EKristy Puchko at IGN movies\u003C\u002Fa\u003E. \"The Show offers a supremely intoxicating adventure, ripe with imagination, rank with decadence, and rabid with more, more Moore.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on digital download on 18 October\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-13"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xc91v"],"imageAlignment":"centre","imageAltText":"Last Dual","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-14"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe Last Duel\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe 83-year-old Sir Ridley Scott is busier than ever, with two films due in cinemas this year, House of Gucci and The Last Duel. Mind you, maybe that should be \"four films\", because The Last Duel is three films in one. Set in 14th-Century France, Scott's Medieval epic is based on the true story of France's last legally sanctioned duel. The jousting combatants are Jacques LeGris (Adam Driver) and Jean de Carrouges (Matt Damon), who accuses LeGris of raping his wife (Jodie Comer). The twist is that we see events three times over, from the perspectives of the main characters, and each section is scripted by a separate writer: Damon, Nicole Holofcener (Can You Ever Forgive Me?) and Ben Affleck (who co-stars as a louche count) each take a turn. \u003Ca href=\"https:\u002F\u002Fcollider.com\u002Fthe-last-duel-review-ben-affleck-matt-damon\u002F\"\u003ERafael Motamayor in Collider says\u003C\u002Fa\u003E that The Last Duel has \"a nuanced, complex script, phenomenal performances that should be studied in acting class, and some of the best Medieval fight scenes put to the screen\".\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 15 October in the UK, Ireland, the US and Canada\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-15"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xcqbz"],"imageAlignment":"centre","imageAltText":"Dune","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-16"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EDune\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAlejandro Jodorowsky's version may have \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20190312-is-jodorowskys-dune-the-greatest-film-never-made\"\u003Ecollapsed in pre-production\u003C\u002Fa\u003E, and David Lynch's was a flop, but now at last we have a big-screen \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210903-four-stars-for-dune\"\u003EDune\u003C\u002Fa\u003E that may actually do justice to Frank Herbert's science-fiction novel. Directed by Denis Villeneuve (\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20171004-film-review-does-blade-runner-2049-top-the-original\"\u003EBlade Runner 2049\u003C\u002Fa\u003E, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20161108-arrival-is-the-smartest-big-budget-sci-fi-film-in-years\"\u003EArrival\u003C\u002Fa\u003E), this is a sombre, sweeping epic which runs for 155 minutes and still only covers the first half of the book. The budget is colossal, the crew is top-notch, and the cast is packed with big names, including Timothée Chalamet, Oscar Isaac, Josh Brolin, Zendaya and Dave Bautista. As space operas about psychic-powered young heroes on desert planets go, it may never be as popular as Star Wars, but, says \u003Ca href=\"https:\u002F\u002Fwww.independent.co.uk\u002Farts-entertainment\u002Ffilms\u002Freviews\u002Fdune-review-b1913870.html\"\u003EClarisse Loughrey in the Independent\u003C\u002Fa\u003E, \"It is a film of such literal and emotional largeness that it overwhelms the senses [and] of such intimidating grandeur that it's hard to believe it even exists in the first place.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 21 October in the UK and Ireland, and 22 October in the US and Canada\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-17"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xcqy1"],"imageAlignment":"centre","imageAltText":"Titane","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-18"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ETitane\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EFor only the second time in its history, and for only the first time since 1993, the Palme d'Or at this year's \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Ftags\u002Fcannes-film-festival\"\u003ECannes Film Festival\u003C\u002Fa\u003E was won by a film directed by a woman. Even if it hadn't received one of cinema's top prizes, though, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210715-titane-the-most-shocking-film-of-2021\"\u003EJulia Ducournau's Titane\u003C\u002Fa\u003E would be a must-see. \"In the follow-up to her sensational and literally faint-inducing debut, Raw,\" \u003Ca href=\"https:\u002F\u002Fthespool.net\u002Ffestivals\u002Ftiff-2021-titane-julia-ducournau-review\u002F\"\u003Esays Sarah Kurchak in The Spool\u003C\u002Fa\u003E, \"Ducournau has significantly upped the ante and created a film exponentially more brutal, beautiful, borderline unbearable, and absolutely brilliant\". The film is a gory, blackly-comic shocker about a serial killer (Agathe Rousselle) who has sex with a car and then hides from the authorities by disguising herself as the missing son of a steroid-addled fire chief (Vincent Lindon). But even that summary doesn't convey just how feverish Titane is.\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 1 October in the US, 7 October in Germany and 8 October in Spain and Sweden\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-19"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xcnw7"],"imageAlignment":"centre","imageAltText":"Bergman Island","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-20"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EBergman Island\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EFårö is the small island in the Baltic Sea where Ingmar Bergman lived and shot several of his most celebrated films in the 1960s and 1970s. Fans and film-makers flock there, hoping to be as inspired as the great Swedish auteur was: in Mia Hansen-Løve's enigmatic drama, Bergman Island, two of those pilgrims are Chris (Vicky Krieps) and Tony (Tim Roth), a married pair of writer-directors. Tony is there for a retrospective of his violent thrillers. The insecure Chris is stuck on her latest screenplay, but the island gives her an idea that unfolds as a film within a film starring Mia Wasikowska and Anders Danielsen Lie. \"Bergman Island acts like a love letter to Bergman,\" \u003Ca href=\"https:\u002F\u002Foneroomwithaview.com\u002F2021\u002F07\u002F18\u002Fbergman-island-cannes-2021-review\u002F\"\u003Esays Alysha Prasad in One Room With A View\u003C\u002Fa\u003E, \"but stands on its own as a film that focuses on the artists' journey of storytelling itself. And if all of this isn't enough, we get to witness Wasikowska dancing to The Winner Takes It All by Abba.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 1 October in Sweden and 15 October in the US\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-21"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xc7x7"],"imageAlignment":"centre","imageAltText":"Ron's Gone Wrong","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-22"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ERon's Gone Wrong\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe first feature-length cartoon from a new British studio, Locksmith Animation, Ron's Gone Wrong is a family comedy about the differences between social media and physical interaction. Its schoolboy hero, Barney (Jack Dylan Grazer), is given what seems to be the ideal toy, a shiny robot which is programmed to be his friend – assuming it works properly. The snag is that this particular robot, Ron (Zach Galifianakis), barely works at all. \"Children want someone who agrees with them, who wants to play the same games as them… and that's the type of dream the technology world offers you,\" the film's co-writer and co-director, \u003Ca href=\"https:\u002F\u002Fwww.theaureview.com\u002Fwatch\u002Finterview-rons-gone-wrong-directors-sarah-smith-and-jean-philippe-vine-on-addressing-social-media-and-physical-separation\u002F\"\u003ESarah Smith, told Peter Gray at the AU Review\u003C\u002Fa\u003E. \"And in our movie, Barney ends up with Ron, who's completely dysfunctional and broken, who doesn't agree with him and doesn't know anything about him, and they have to build this relationship from that point.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 15 October in the UK and Ireland and 22 October in the US and Canada\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october-23"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-01T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Twelve films to watch this October","headlineShort":"Twelve films to watch this October","image":["p09xcqbz"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p09xcqbz"],"relatedStories":null,"relatedTag":["tag\u002Ffilm-reviews"],"summaryLong":"Nicholas Barber picks this month's must-see releases, including sci-fi epic Dune, a Velvet Underground documentary and Wes Anderson's latest offering.","summaryShort":"Including sci-fi epic Dune and the new Wes Anderson offering","tag":["tag\u002Ffilm-reviews"],"textToSpeech":false,"creationDateTime":"2021-09-30T23:00:54.487733Z","entity":"article","guid":"c5a846b4-02a8-402b-a4f7-36cb5b1f9375","id":"culture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october","modifiedDateTime":"2021-09-30T23:00:54.487733Z","project":"culture","slug":"20210930-twelve-films-to-watch-this-october","cacheLastUpdated":1635188204724},"culture\u002Farticle\u002F20210928-five-stars-for-no-time-to-die":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20210928-five-stars-for-no-time-to-die","_id":"616ff5ce45ceed74e907306d","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"Cary Joji Fukunaga directs Daniel Craig in his final outing as Bond, in a film that rounds off the era with tremendous ambition and aplomb, writes Nicholas Barber.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"There are dinner jackets and dinner jackets,\" says Vesper Lynd in Casino Royale, \"and this is the latter.\" On a similar note, there are Bond films and Bond films, and No Time To Die is definitely the latter – not just another episode in a long-running action-movie series, but a film that has come to seem like the cultural and economic event of the decade.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond\"\u003EThe women who have shaped Bond\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like\"\u003EWhat Bond's next era will look like\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210831-what-bond-villains-tell-us-about-the-world-we-live-in\"\u003EWhat Bond villains reveal about us\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EFor one thing, No Time To Die is the last of Daniel Craig's five Bond movies. The producers, Barbara Broccoli and Michael G Wilson, knew that while it was being made, so they were keen to complete every character arc, to tie up every loose end, to tick off every one of the signature 007 stunts and storylines that hadn't already been used in a Craig film, and to give their hugely popular leading man a memorable send-off. In particular, they wanted it to be more memorable than \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20151022-film-review-is-spectre-the-best-bond-yet\"\u003ESpectre\u003C\u002Fa\u003E, which had been thought of as Craig's swan song until he was persuaded to return. No Time To Die had to be something special.\u003C\u002Fp\u003E\n\u003Cp\u003EIts status as a valedictory film isn't the only issue, either. Bear in mind that it's been almost six years since Spectre came out in October 2015; that the release date was pushed back three times due to the pandemic; that British cinemas are depending on it to revive their fortunes; and that this is the 25th instalment in the official Eon series; and No Time To Die feels like an occasion to match a Royal wedding multiplied by a World Cup Final. Can it possibly live up to expectations that are at an all-time high?\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20210928-five-stars-for-no-time-to-die-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"No Time To Die is the kind of outsized standalone sci-fi yarn we might associate with the earlier 007s","id":"culture\u002Farticle\u002F20210928-five-stars-for-no-time-to-die-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFrom most viewers, the answer will be yes. No Time To Die has a running time of two hours and 43 minutes – an hour longer than Quantum of Solace – making it the longest Bond movie of all. It feels long, too. But it packs in so much that you can hardly complain. \u003C\u002Fp\u003E\n\u003Cp\u003EThe film's director, Cary Joji Fukunaga, clearly doesn't subscribe to the theory that less is more. He and his co-writers (the veteran Bond team of Neal Purvis and Robert Wade, plus Phoebe Waller-Bridge of Fleabag and Killing Eve fame) have delivered a sequel to Spectre, with all the continuity and romantic angst we've come to expect from Craig-era Bond. But No Time To Die is also the kind of outsized standalone sci-fi yarn we might associate with the earlier 007s, complete with gadgets, bonkers world-domination schemes, and a cavernous secret headquarters that could have been built by Ken Adam in the days of Sean Connery and Roger Moore. \u003C\u002Fp\u003E\n\u003Cp\u003EThe film reunites Bond with the old gang of M (Ralph Fiennes), Q (Ben Whishaw), Moneypenny (Naomie Harris) and Tanner (Rory Kinnear) – all of them shrewdly employed. But it also introduces some new buddies, including a sparky double-0, Nomi (Lashana Lynch), who has been recruited since Bond retired from MI6 at the end of Spectre. It has countless references to previous Bond movies, and even finds material in Ian Fleming's novels that hasn't been used before. But it also takes its hero somewhere unusual. It piles on the grief and raises the emotional stakes, with the help of Hans Zimmer's operatic music and Linus Sandgren's warm cinematography. But it also keeps the jokes and the silliness coming: it's been decades since Bond had this many groan-worthy one-liners, and he's never had this many Oliver Hardy-style exasperated glances.\u003C\u002Fp\u003E\n\u003Cp\u003EAnother example of its range and scope is that No Time To Die covers a longer period than any other Bond film. It begins with a tense flashback showing his girlfriend from Spectre, Madeleine Swann (Léa Seydoux), as a young girl. It then moves onto a post-Spectre sequence full of outrageous, crowd-pleasing stunts: the ones in the trailer, basically, in which Bond hurls himself off a bridge, and does some doughnuts in his Aston Martin while spraying an Italian piazza with the mini-guns concealed behind the headlamps. And then it jumps forward again to a period captioned \"Five Years Later\". Bond has been taking it easy in Jamaica – an appropriate location, given that Ian Fleming wrote his novels there. But, of course, this tropical holiday can't last. A Russian scientist (David Dencik) is kidnapped by the dastardly Lyutsifer Safin (Rami Malek), so Bond's pal from the CIA, Felix Leiter (Jeffrey Wright), drops in to ask him for help. \u003C\u002Fp\u003E\n\u003Cp\u003EThe plot that proceeds from there is too complicated to go into, but Fukunaga and his team keep the action racing along at breathless speed and in ways that seem more or less logical. With so much to fit in, not every element is satisfying. Ana de Armas's gorgeous CIA agent manages to be both charmingly ditzy and hyper-competent, so it's a shame she doesn't have more to do. Malek seems to be missing a few key scenes, as well, but when he is on screen he is too young, too wet, and too unscary to be a classic Bond villain. He looks as if he spends more time on his haircare than his evil plans.\u003C\u002Fp\u003E\n\u003Cp\u003EIf there are other elements, too, which don't quite reach the heights they're aiming for, in general No Time To Die does exactly what it was intended to do, which is to round off the Craig era with tremendous ambition and aplomb. Beyond that, it somehow succeeds in taking something from every single other Bond film, and sticking them all together. To quote a certain song that makes a wistful reappearance: if that's all we have, we need nothing more.\u003C\u002Fp\u003E\n\u003Cp\u003E★★★★★\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for film fanatics all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, WorkLife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210928-five-stars-for-no-time-to-die-2"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-09-29T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Five stars for No Time To Die","headlineShort":"Five stars for No Time To Die","image":["p09x617v"],"imageAlignment":"centre","imageAltText":"No Time to Die","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Ffilm-reviews"],"summaryLong":"Cary Joji Fukunaga directs Daniel Craig in his final outing as Bond, in a film that rounds off the era with tremendous ambition and aplomb, writes Nicholas Barber.","summaryShort":"Daniel Craig's final Bond film is the event of the decade","tag":["tag\u002Fcelebrating-bond"],"textToSpeech":false,"creationDateTime":"2021-09-28T23:00:39.157338Z","entity":"article","guid":"f6dffa29-57a4-42d4-9aa1-dc5b9cb9ba0f","id":"culture\u002Farticle\u002F20210928-five-stars-for-no-time-to-die","modifiedDateTime":"2021-09-28T23:39:50.850035Z","project":"culture","slug":"20210928-five-stars-for-no-time-to-die","cacheLastUpdated":1635188204724},"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance","_id":"616ff5c845ceed6edc49a484","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fanna-smith"],"bodyIntro":"It became fashionable to mock The English Patient but, 25 years on, we need it more than ever. Anna Smith re-visits the film in all its lavish, sweeping glory.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EEvery now and then, a film comes along that sweeps audiences off their feet with its swooning romance, incredible historical setting and swelling score. It happened in 1939 with Gone with the Wind, in 1965 with Doctor Zhivago, and in 1996, with The English Patient. Film critics awarded it five stars, enraptured by the story of the badly scarred hero (Ralph Fiennes) recalling his passionate affair with Katharine (Kristin Scott Thomas) while being tended to by nurse Hana (Juliette Binoche) –  herself enjoying a romance with Kip (Naveen Andrews). The setting was a decoratively dilapidated monastery in the Italian countryside, and the flashbacks took place in the Sahara during World War Two: dramatic both visually and thematically. Like many a romantic epic, it was based on a best-selling novel – by Michael Ondaatje – and it also had a prestige director, Anthony Minghella, whose star was on the rise.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made\"\u003EAmélie – the most stylish film ever made?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210903-why-berlanga-is-spains-greatest-film-director\"\u003EIs this Spain's greatest film director?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210812-the-big-sleep-the-most-baffling-film-ever-made\"\u003EThe most baffling film ever made\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ECritic and programmer Geoff Andrew remembers reviewing the film for Time Out when it first came out. \"I was not alone in being highly impressed – and deeply moved – by the film at the press screening. Its sense of scale –  chronological, geographical and emotional – suggested that Minghella had moved up several notches as a director, and that the film would endure as a breakthrough achievement.\" \u003Ca href=\"https:\u002F\u002Fwww.timeout.com\u002Fmovies\u002Fthe-english-patient\"\u003EAndrew's review praised the film as\u003C\u002Fa\u003E, \"a rich, complex, entrancing piece of work\", while Jay Carr at Boston Globe claimed that it \"out-Zhivagos Doctor Zhivago\". Rita Kempley in The Washington Post \u003Ca href=\"https:\u002F\u002Fwww.washingtonpost.com\u002Fwp-srv\u002Fstyle\u002Flongterm\u002Freview96\u002Fenglishpatientkemp.htm\"\u003Ecalled it\u003C\u002Fa\u003E \"completely intoxicating\" while the BBC's Ali Barclay declared it, \"A must-see film for all lovers of cinema on a grand and sweeping scale\".\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ws0ht"],"imageAlignment":"centre","imageAltText":"Ralph Fiennes in The English Patient","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAudiences agreed: it was a box-office success worldwide, and was nominated for 12 Oscars, nine of which it would go on to win, including best picture and best director. And yet, after a few months of acclaim, it became fashionable to mock Anthony Minghella's lavish period drama.\u003C\u002Fp\u003E\n\u003Cp\u003EWhy? An episode of Seinfeld in 1997 played a part. Actually called The English Patient, episode 17 of series 8 saw Elaine (Julia Louis-Dreyfus) declaring her hatred for the film, exasperated by a sea of praise and even losing her boyfriend, who couldn't bear to be with someone who didn't like The English Patient. \"Those sex scenes, please…\" Elaine mocked. \"Give me something I can use!\" It was, and still is, very funny – partly because the film seemed so incredibly popular and untouchable. \"At that time, it was being touted as this 'perfect movie', and everyone had to go see it,\" \u003Ca href=\"https:\u002F\u002Fwww.vanityfair.com\u002Fhollywood\u002F2016\u002F11\u002Fseinfeld-the-english-patient-20th-anniversary\"\u003Eepisode writer Steven Koren told Vanity Fair, 20 years later\u003C\u002Fa\u003E. \"And I just remember going, 'I have to go?'… It was, like, suffocating. But in the end, I think it was a pretty good movie.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The drive for more complex films about women may have edged the genre out","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFilm journalist Wendy Mitchell points to The English Patient being perceived as \"highbrow\", so an easy target for the cynical sitcom. \"The four characters in Seinfeld often go against the grain… For Elaine to admit she loathed The English Patient seemed to fit her character – she is not a sweet, romantic type, so she's of course sceptical about a sweeping romance. Elaine isn't trying to be highbrow; she wants to see a film called Sack Lunch instead.\" Mitchell goes on to say, \"I thought it was hilarious that this episode became synonymous with the film itself.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe end of romance?\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAnd so, the backlash had begun, with expressions as passionate and dramatic as the film itself. Writer Sarah Miller wrote an article regretting her original review, entitled \u003Ca href=\"https:\u002F\u002Fpopula.com\u002F2018\u002F09\u002F30\u002Fsarahs-magnum-opus\u002F\"\u003EHow The English Patient Almost Ruined My Life\u003C\u002Fa\u003E saying, \"This was a movie about good looking mostly white people talking complete rubbish to each other, the end. But it was based on a LITERARY NOVEL with LONG SENTENCES using BIG WORDS. It had RESPECTED ACTORS. PEOPLE DIED in it. Also, WORLD WAR II WAS THERE. Everyone had agreed to care about this thing, to call it good… But it was just a piece of sh*t sprinkled with glitter that everyone, including me, agreed to call gold.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09wrzr3"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHelen O'Hara, the author of Women vs Hollywood: The Fall and Rise of Women in Film, loved The English Patient at an early screening, but thinks it suffered from undue hype for those who saw it later. \"I feel like this was near the peak of the Miramax Oscar machine times, the era when the Weinsteins seemed to dominate the awards to an absurd degree. So, I remember, when I brought my friends to see the film after all that hype, there was this sense that, 'It's good, but it's not \u003Cem\u003Ethat\u003C\u002Fem\u003E good\". I think a lot of its strength was in its delicacy and understatement, and when you go in expecting capital-G Greatness, that's not really the kind of film it is.\"\u003C\u002Fp\u003E\n\u003Cp\u003EA similar backlash happened a year later, after the release of another initially acclaimed romantic epic: Titanic. There was a growing sense that the genre was too revered, and few great films came along to disprove that. Minghella's own Cold Mountain in 2003 was politely received, but not a sensation; and even the most positive reviews for Atonement in 2007 were more tempered. Luhrmann's attempt to revive the genre in 2008 with Australia had very mixed results.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"It is at once romantic and restrained, epic and intimate, so that it never feels overblown or bombastic","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EO'Hara points to a decline in the romance genre as a whole. \"I think romance, as well as rom-coms, have suffered in recent years for a couple of reasons. First, the hollowing out of the mid-budget, adult-focused drama has hit it hard, because we don't tend to get many of those anymore – especially now with the epic wartime backdrop that this had.\" She also highlights our more self-aware, politically correct culture. \"There's a wariness of old romantic tropes, some of which are now considered problematic or sexist (what used to be thought of as romantic pursuit is now often described as stalking).\" The drive for more complex films about women may even have edged the genre out, she says. And then, of course, there has been a proliferation of superhero films and franchises, a much safer bet for risk-averse studios looking to fill the multiplexes.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ws06h"],"imageAlignment":"centre","imageAltText":"The English Patient","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESo, was The English Patient one of the last great romantic epics? Geoff Andrew thinks so. \"There may have been similarly lush and epic romances made since Minghella's film, but its sheer intelligence (especially as a lucid adaptation of a quite 'difficult' book), its beautifully nuanced performances, and its avoidance of sentimentality mean that it stands high in that particular genre. It is at once romantic and restrained, epic and intimate, so that it never feels overblown or bombastic. That, I think, is part of the secret of its success.\" As Helen O'Hara puts it: \"I think it's now underrated. The dizziness and tragedy and horror of the Fiennes-Scott Thomas story still has the power to shock as well as to sweep you away, and there's a slight sweetness to the Binoche-Andrews romance that somewhat lessens that blow, without sugar-coating it entirely.\"\u003C\u002Fp\u003E\n\u003Cp\u003EPerhaps, as the film celebrates its 25th anniversary, the dust is starting to settle. And now the novel is \u003Ca href=\"https:\u002F\u002Fdeadline.com\u002F2021\u002F08\u002Fthe-english-patient-tv-adaptation-bbc-emily-ballou-miramax-1234817054\u002F\"\u003Ebeing adapted\u003C\u002Fa\u003E into a BBC TV series, we may find a renewed interest in the film. Says O'Hara: \"Ultimately, maybe we're all just going through a slightly more cynical phase, and are wary of stories of overwhelming love. If that's the case, I hope we get past it.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnna Smith hosts the \u003Ca href=\"https:\u002F\u002Fpodfollow.com\u002F1439182513\u002Fview\"\u003EGirls On Film\u003C\u002Fa\u003E podcast.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance-10"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-09-27T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The English Patient – is it time to revive the epic romance?","headlineShort":"Is it time to revive the epic romance?","image":["p09wvw96"],"imageAlignment":"centre","imageAltText":"The English Patient","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"The English Patient","promoImage":["p09wvw96"],"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"It became fashionable to mock The English Patient but, 25 years on, we need it more than ever. Anna Smith re-visits the film in all its lavish, sweeping glory.","summaryShort":"It became fashionable to mock The English Patient, but we need it more than ever","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2021-09-26T23:00:54.492989Z","entity":"article","guid":"f38d1500-1c5f-429b-b5b8-5c605af13a02","id":"culture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance","modifiedDateTime":"2021-09-26T23:00:54.492989Z","project":"culture","slug":"20210924-the-english-patient-is-it-time-to-revive-the-epic-romance","cacheLastUpdated":1635188204724},"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond","_id":"616ff5d445ceed79824a1658","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fbeth-webb"],"bodyIntro":"Fleabag creator Phoebe Waller-Bridge's involvement in the latest Bond film has been a big talking point. But she isn't the franchise's first female writer, writes Beth Webb.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EImagine if in Dr No, the first James Bond film in a franchise that has spanned nearly 60 years, the title character had been the lead villain's pet monkey rather than the villain himself. Or everyone had talked in the style of Chicago hitmen instead of using the dialogue from Ian Fleming's seminal spy novels. Both these twists made it into iterations of the screenplay during Dr No's development, and had it not been for Johanna Harwood, a woman whose impact on Bond was vast and yet is seldom credited, 007's 1962 debut could have looked very different.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like\"\u003EWhat Bond's next era will look like\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210831-what-bond-villains-tell-us-about-the-world-we-live-in\"\u003EWhat Bond villains reveal about us\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.google.com\u002Fsearch?q=films+to+watch+september+bbc+culture&sxsrf=AOaemvJPjYvG-DPpNSbUIMjieYsL-volsA%3A1632411599547&ei=z59MYa3nIILIgQaR87P4AQ&oq=films+to+watch+september+bbc+culture&gs_lcp=Cgdnd3Mtd2l6EAMyCAghEBYQHRAeOgcIABBHELADOgYIABAWEB5KBAhBGABQ-ANY0QpgvQtoAXACeACAAbkCiAHLC5IBBzAuMi4zLjGYAQCgAQHIAQXAAQE&sclient=gws-wiz&ved=0ahUKEwjtipKMt5XzAhUCZMAKHZH5DB8Q4dUDCA4&uact=5\"\u003ETen films to watch this month\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ESo underappreciated is Harwood that, if you Google her name today, the first picture that comes up is in fact that of Phoebe Waller-Bridge rather than Harwood herself. That's because the Fleabag and Killing Eve creator has now followed Harwood as only the second woman to contribute to a Bond screenplay, with the upcoming No Time To Die, which finally hits screens in the UK next week after a 17-month, Covid-induced delay.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09wsfdg"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWaller-Bridge was nominated for the film by longstanding producer Barbara Broccoli and has been vouched for by star Daniel Craig as core to the new film's personality: \"her influence permeates a lot of this film. She walked that fantastic line of keeping it as a thriller and being very funny,\" he said in an \u003Ca href=\"https:\u002F\u002Fwww.radiotimes.com\u002Fmovies\u002Fjames-bond-daniel-craig-woman-next-newsupdate\u002F\"\u003Einterview with Radio Times\u003C\u002Fa\u003E earlier this week. For her part, Waller-Bridge has said she was not brought on to radically change the Bond brand: \"they were just looking for tweaks across a few of the characters and a few of the storylines,\" Waller-Bridge told the \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fentertainment-arts-50331077\"\u003EBBC\u003C\u002Fa\u003E.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EBond's great forgotten woman\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ENevertheless it's great to see that Waller-Bridge's name has been front-and-centre of the pre-publicity. It contrasts with the case of Harwood, who was relegated by Hollywood to the sidelines in spite of her saving the franchise from catastrophe multiple times: as well as Dr No, she also worked on From Russia With Love and may have also had a hand in Goldfinger, uncredited.\u003C\u002Fp\u003E\n\u003Cp\u003E\"She is a key contributor whose work remains largely overlooked\" says Dr Lisa Funnell, a specialist in the gender politics of Bond and author of For His Eyes Only: The Women of James Bond. \"She fought to ensure that the inaugural Bond films reflected the essence of Ian Fleming's source novels, while helping to shape the cinematic identity of one of the most iconic figures in popular culture.\" In his memoir One Lucky Bastard, former Bond actor Roger Moore also made clear the significance of Harwood's legacy. \"Her involvement has often been overlooked and her pivotal role clouded by the vagaries of film history and the egos of those within,\" he wrote.\u003C\u002Fp\u003E\n\u003Cp\u003EHarwood, who originally hailed from County Wicklow in Ireland, worked as a script supervisor, or \"continuity girl\", as they were then known, during the 1950s, a rare production role deemed acceptable for women at the time. After a spell working for the talent agency Famous Artists, she was passed reluctantly over to theatre producer Harry Saltzman, who took over her former boss's office. She stayed on the condition that she could continue to write. \"That was really her passion,\" says Mark Edlitz, author of several books on the Bond franchise including The Lost Adventures of James Bond. \"She did those other jobs like script continuity and working as his assistant as a means to write films.\" It was during the early phase of her working relationship with Saltzman that the producer gained the rights to the bulk of Fleming's novels. From here, Harwood's tumultuous relationship with the franchise and the men behind them began.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Johanna Harwood's contributions to Bond have been largely ignored or significantly reduced by others in their personal accounts – Dr Lisa Funnell","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EInitially, Harwood wrote the first rough draft of Dr No. \"That was the first script for the first James Bond film for Eon [Productions]. That can't be underscored enough,\" stresses Edlitz.\"She said that what was most important to her was being faithful to the Fleming novels, which was important when recognising what about them could make good films. Other writers might have had the impulse to abandon Fleming's stories and craft something a little bit more outrageous.\"\u003C\u002Fp\u003E\n\u003Cp\u003EOther writers certainly tried. Unbeknownst to Harwood, Saltzman had signed a deal with producer Wolf Mankowitz on the condition that he would write the final draft of Dr No. It was Mankowitz who wrote in the monkey, among other things, leading the studio, United Artists, to bring in Harwood again to rescue the screenplay. Next, the studio hired Indian army general Berkely Mather to make the film's dialogue more masculine – which is how the characters briefly came to be talking like Chicago hitmen, \u003Ca href=\"https:\u002F\u002Fbooks.google.co.uk\u002Fbooks?id=p8XZCgAAQBAJ&pg=PT49&lpg=PT49&dq=%22Berkely+Mather+%22+hitmen+%22Dr+no%22&source=bl&ots=6WkrdowHl7&sig=ACfU3U3np2iWCwHKVf1q2p7DJtyfOLaWjA&hl=en&sa=X&ved=2ahUKEwjAoIu5j5XzAhUHDcAKHSTqBmoQ6AF6BAgmEAM#v=onepage&q=%22Berkely%20Mather%20%22%20hitmen%20%22Dr%20no%22&f=false\"\u003Eaccording to Harwood\u003C\u002Fa\u003E. Once more, she was brought in to save the day, and with the help of director Terence Young, managed to wrestle the script into shape a mere eight days before shooting began.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09wsfcn"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe experience would prove extremely oppressive for the burgeoning writer. \"She experienced sexism while working with Young, and her contributions have been largely ignored or significantly reduced by [Young and others] in their personal accounts,\" says Funnell. Harwood was hired to work on From Russia With Love, again directed by Young, but came to such creative blows with him that she left the film, and received only a credit for adaptation on the film rather than a full screenwriting one. \"Her story was so representative of gender roles and what was happening to them,\" says Dr Monica Germana, scholar and author of Bond Girls: Body, Fashion and Gender. \"She had ambition but she was belittled a lot.\"\u003Cstrong\u003E \u003Cbr \u002F\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EWhy female screenwriters deserve more credit\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWhat's interesting – and depressing – is that Harwood is part of a historic lineage of women who have helped to shape some of the most lucrative and decorated films and franchises in male-dominated Hollywood, from Star Wars to Sister Act to The Lego Movie – yet rarely received proper credit.\u003C\u002Fp\u003E\n\u003Cp\u003EOne of these was the late, great Carrie Fisher who became known as one of Hollywood's great \"script doctors\": that is, an \"invisible\" screenwriter brought in to fix problematic screenplays, typically without their name appearing on the credits.\u003C\u002Fp\u003E\n\u003Cp\u003EFisher had been dabbling in script work since incorporating some of her own dialogue into her early Star Wars films, to the point where she was writing it into the script by Return of the Jedi. However it was her semi-autobiographical novel Postcards from the Edge that would pivot her more centrally into script work. The book caught the attention of Steven Spielberg, who consequently brought Fisher in to work on his Peter Pan spin-off Hook. \"They told me they wanted me to rewrite Tinkerbell's part, but if Tinkerbell interacts, you're writing scenes,\" Fisher told the \u003Ca href=\"https:\u002F\u002Fwww.phoenixnewtimes.com\u002Fnews\u002Fcarrie-fisher-on-spy-in-the-house-of-me-tinkerbell-and-being-the-movie-industrys-best-script-doctor-6636095\"\u003EPhoenix New Times\u003C\u002Fa\u003E.\u003C\u002Fp\u003E\n\u003Cp\u003EHer body of work from then on was vast and varied, and her special skillset ranged from improving female roles to managing difficult relationships behind the scenes. She reworked Rene Russo's character in Lethal Weapon 3 and wrote the part of Drew Barrymore's heroine in romantic comedy The Wedding Singer. While working on Sister Act, she called up Whoopi Goldberg and told her to smooth things over with producer Jeffrey Katzenberg after a series of heated creative spats. Fisher only held a handful of named writing credits, including one for her screenplay of the movie adaptation of Postcards from the Edge, but her talent for writing robust, funny women was used by some of the most prolific men in Hollywood.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"We shouldn't just be pigeonholing women writers as women writers. We want them because they are very good writers, not because we need to tick a box – Dr Monica Germana","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAnother woman who has helped shape the Hollywood blockbuster, mostly invisibly, is Lindsay Doran, whose largely uncredited work has earned her the title of \"The Script Whisperer\" across the industry. Once an executive producer on films like This Is Spinal Tap and Ferris Bueller's Day Off, Doran now focuses on not rescuing, but more revolutionising screenwriting through her attitudes towards it.\u003C\u002Fp\u003E\n\u003Cp\u003EIn her Ted Talk \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=752INSLlyf0\"\u003ESaving the World vs Kissing the Gir\u003C\u002Fa\u003El, Doran spoke about how reading the psychology book Flourish by Martin E P Seligman introduced her to positive storytelling, and the revelation that characters' personal relationships trump their personal achievements. Successful films such as Dirty Dancing, The Karate Kid and The King's Speech, she argued, all endure because the lead characters' triumphs are shared with the people that they love. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09wsffc"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt's difficult to measure the impact of Doran's influence on Hollywood; her last official film credit was Nanny McPhee and the Big Bang in 2010, and her work extends to teaching alongside her consultancy work with studios and filmmakers. However Phil Lord and Christopher Miller, whose collective writing and directorial work ranges from 21 Jump Street (2012) to The Lego Movie and Spider-Man: Into the Spider-Verse, have worked with Doran extensively on perfecting their winning brand of silliness and sincerity. Meanwhile Terry Rossio, a writer for Shrek, Aladdin and the Pirates of the Caribbean film, described her to the \u003Ca href=\"https:\u002F\u002Fwww.nytimes.com\u002F2012\u002F01\u002F15\u002Fmovies\u002Flindsay-doran-examines-what-makes-films-satisfying.html\"\u003ENew York Times\u003C\u002Fa\u003E as a \"Pied Piper, leading all those ratty, bleak and violent screenplays in town over a cliff.\" \u003C\u002Fp\u003E\n\u003Cp\u003EThe landscape for credited female representation has begun to shift in the wake of movements such as #MeToo and Time's Up and a \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fworld-us-canada-43219531\"\u003Ecall for the hiring of more women\u003C\u002Fa\u003E writers, as well as directors and crew members, more generally.\u003C\u002Fp\u003E\n\u003Cp\u003EStudios are now slowly making the changes to diversify, and credited female screenwriters are being brought in for larger projects, such as Nicole Holofcener, who was hired specifically to write the female perspective in Ridley Scott's upcoming period epic The Last Duel, while longstanding collaborators Matt Damon and Ben Affleck wrote the rest of the screenplay.\u003C\u002Fp\u003E\n\u003Cp\u003EFor some however, these changes are not enough. The move to bring Phoebe Waller-Bridge in at a later stage in the screenwriting process for No Time To Die for example, raises questions as to why she hadn't been included on the project from the start. \u003C\u002Fp\u003E\n\u003Cp\u003E\"While I am happy to see such a talented scriptwriter like Waller-Bridge join the team, I find it frustrating that she was brought in so late into the process to 'spot shot' and 'treat' various sections of the script that required development and enlivening,\" says Funnell. \"Diversity in scriptwriting requires the full participation of creative personnel from the outset of the project including the conceptualisation and development of characters and storylines.\"\u003C\u002Fp\u003E\n\u003Cp class=\"dcr-1m34hpq\"\u003EThe gendered responsibilities bestowed upon female writers also can present restrictions on how they are able to contribute to films. \"We shouldn't just be pigeonholing women writers as women writers,\" says Germana. \"We want them because they are very good writers, not because we need to tick a box. Waller-Bridge deserves to be there because she's a brilliant writer.\" Gratifyingly, in that respect, Waller-Bridge has made clear her gender was not a factor in her hiring for the film. \"The reality was I got a call from Barbara [Broccoli, the film's producer] and Daniel saying, 'We like your work, can you come in and help us?'. There wasn't ever really a conversation about can you come in and help us with 'the ladies',\" she told the BBC.\u003C\u002Fp\u003E\n\u003Cp\u003ENevertheless, the significance of her involvement in Bond should not be underestimated; her role as one of the new faces of an inherently masculine franchise is both a boon and a reminder that there is still a lot of work in Hollywood to be done when it comes to giving female screenwriters the opportunities, and credit, that they deserve.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ENo Time To Die is released in the UK on 30 September and in the US on 8 October\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond-10"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-09-24T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"No Time To Die: The women who have shaped Bond","headlineShort":"The women who have shaped Bond","image":["p09wsfb9"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"Fleabag creator Phoebe Waller-Bridge's involvement in the latest Bond film has been a big talking point. But she isn't the franchise's first female writer, writes Beth Webb.","summaryShort":"How Phoebe Waller-Bridge became the second female writer to take on a Bond movie","tag":["tag\u002Fcelebrating-bond"],"textToSpeech":false,"creationDateTime":"2021-09-23T23:00:33.194167Z","entity":"article","guid":"ea8c1d63-d1c4-4771-b3d3-ad814f401dfb","id":"culture\u002Farticle\u002F20210923-the-women-who-have-shaped-bond","modifiedDateTime":"2021-10-01T16:07:34.592315Z","project":"culture","slug":"20210923-the-women-who-have-shaped-bond","cacheLastUpdated":1635188204725},"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made","_id":"616ff5d145ceed665b694966","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fhannah-strong"],"bodyIntro":"Twenty years on, the quirky romantic comedy is as iconic and timely as ever. Hannah Strong explores the film's unique appeal, and why its moments of magic are so right for now.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ETwenty years ago, a petite heroine from the Montmartre district of Paris took the world by storm. Amélie Poulain, the title character of Jean-Pierre Jeunet's fourth feature film, is a waitress with a big imagination, who finds herself drawn to simple pleasures in life, such as taking in a film on a Friday night or cracking the surface of a crème brûlée with a spoon. Yet she often feels isolated, and having had a lonely childhood, seeks out connection with those around her. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210903-why-berlanga-is-spains-greatest-film-director\"\u003EIs this Spain's greatest director?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210906-why-asian-superhero-shang-chi-could-truly-change-the-world\"\u003EA blockbuster set to change the world\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210907-films-showing-the-reality-of-marriage\"\u003EFilms showing the reality of marriage\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EJeunet’s unconventional romantic comedy sees Amélie – played wonderfully by Audrey Tautou – encounter a series of fellow oddballs, and provides glimpses into the curious lives of others while celebrating the unique charm of France's capital city. It's no wonder that the film captured the hearts of audiences upon release, but two decades later its rich legacy continues, having inspired a \u003Ca href=\"https:\u002F\u002Fameliethemusical.com\u002Fabout-amelie-the-musical\"\u003Emusical\u003C\u002Fa\u003E, and even the name of a newly-discovered \u003Ca href=\"https:\u002F\u002Famphibiaweb.org\u002Fspecies\u002F6926\"\u003Especies of frog\u003C\u002Fa\u003E. Just what is it that makes Amélie – or to give the film its proper title, The Fabulous Destiny of Amélie Poulain – so fabulous, after all this time?\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09w4mjd"],"imageAlignment":"centre","imageAltText":"Still from Amelie","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EJean-Pierre Jeunet had already achieved some success before he came to work on Amélie. His 1991 debut Delicatessen, co-directed with Marc Caro – about a dystopia where a butcher feeds humans to the local tenants – had achieved cult status, and his 1995 sci-fi fantasy The City of Lost Children (starring Ron Perlman) played at the Cannes Film Festival. Unfortunately, his first foray into Hollywood – directing Alien Resurrection, the fourth instalment in the popular franchise – had been less well-received. Returning to his native language, he initially intended for the role of Amélie Poulain to go to the British actress Emily Watson, but her French was not strong enough, and prior commitments filming Robert Altman's Gosford Park meant Jeunet had to recast the role.   \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"This is not Paris in reality; this is the city of dreamers, a heightened reality in which the potential for magic lingers down every boulevard","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAudrey Tautou was the first actress he auditioned, having previously noticed her on the poster for French romantic comedy Venus Beauty Institute. She won the titular role, and it's hard to imagine anyone else playing Amélie with such vibrancy and care. Despite her delicate appearance, Amélie is a spirited and mischievous young woman, who thinks nothing of causing a little havoc in order to shake others out of their complacency. After a chance discovery, she vows to devote her life to making others happy, but this seems like a distraction to compensate for her own loneliness. Having lost her mother at a young age and unable to cope with her father's reclusive tendencies, she seeks connection and experiences in the world around her, which manifests itself in becoming an expert problem-solver. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09w4mcc"],"imageAlignment":"centre","imageAltText":"Amelie still","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWe follow Amélie on her adventures around Paris with pleasure; Bruno Delbonnel's vivid cinematography presents the city as beautiful but unmistakably lively, a fairground ride in constant motion. Shots of the city resemble the French capital as seen on postcards, while the unmistakable rich reds and yellows of the film's colour palette were heightened in post-production to reflect Amélie's joie de vivre. \u003C\u002Fp\u003E\n\u003Cp\u003EThis feeling of romance and everyday magic is underscored by the instrumental compositions of Yann Tiersen, which Jeunet employs to great effect to highlight Amélie's capricious moods. This is not Paris in reality; this is the city of dreamers, a heightened reality in which the potential for magic lingers down every boulevard and in every metro station. While the world is often a harsh place, Jeunet and his creative team dare to imagine a kinder, gentler reality, where the dreamers and artists of the world aren't yet jaded by external forces.\u003C\u002Fp\u003E\n\u003Cp\u003EYet when home alone in her apartment, Amélie's world seems quieter; her loneliness more apparent. This recognisable sense of isolation will be familiar to anyone who has spent time living in a city, surrounded by people yet unable to forge relationships. It feels even more poignant in light of the global pandemic, which has forced people inside their homes for over a year, keeping families and friends apart and robbing so many of the joy of human connection.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09w4mp8"],"imageAlignment":"centre","imageAltText":"Amelie still","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAudrey Brisson, who plays the lead role in Amélie: The Musical at London's Criterion Theatre, feels this is one of the major reasons the story of Amélie continues to connect with audiences. \"We've all experienced a whole year of lockdown, and suddenly the idea of not connecting with anyone and feeling alone is even more poignant,\" she tells BBC Culture. \"Amélie is a story about characters who suffer from not being able to connect with one another, learning how to push their boundaries and form those bonds.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECity of dreamers\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe musical version of Amélie first premiered in 2015, with music by Daniel Messé, lyrics by Daniel Messé and Nathan Tysen and a book by Craig Lucas. The show received a lukewarm reception when it opened on Broadway in 2017, but following heavy changes a new version, directed by Michael Fentimen, opened in London's West End in 2019. The transformed production received plenty of positive reviews, and was nominated for three Laurence Olivier Awards and a Grammy. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"I fully credit Amélie with introducing me to French cinema, as it did countless others","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFollowing the reopening of theatres in May 2021, Amélie transferred to the Criterion Theatre, where it was one of the first productions to resume following the pandemic, and continues to draw spectators keen to indulge in a little Parisian magic on the streets of London. Featuring no music from the film, and puppetry to recreate Amélie's childhood, it's an imaginative take on Jeunet's source material. The filmmaker, though, has distanced himself from the musical.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09w4m5d"],"imageAlignment":"centre","imageAltText":"Amelie the Musical","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EEven if Jeunet disapproves of the Broadway version of his film, it's clear that the story of Amélie continues to resonate with audiences. When the film was released in the US in November 2001, its unprecedented success was partially credited to audiences seeking escapism in light of the horrors of the 11 September attacks two months earlier, but as the film racked up a global box-office return of $174.2 million (£126 million) on its modest $10 million budget, it became obvious people around the world were falling in love with Amélie, and for a while it held the title of the third highest grossing foreign-language film worldwide, behind Crouching Tiger, Hidden Dragon and Life Is Beautiful.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-12"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"It's a fantasy that invites viewers to pause amid our everyday lives to find moments of quiet magic","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe US TV writer and producer Bryan Fuller's 2007 show Pushing Daisies was inspired directly by Amélie. US network ABC was looking for a programme with a similar sense of whimsy and sparkle, and Fuller delivered an offbeat romance about a baker with the power to bring dead people back to life. Amélie just happens to be Fuller's favourite film: \"All the things I love are represented in that movie. It's a movie that will make me cry based on kindness as opposed to sadness,\" \u003Ca href=\"https:\u002F\u002Fwww.nytimes.com\u002F2007\u002F07\u002F05\u002Farts\u002Ftelevision\u002F05dais.html\"\u003Ehe told the New York Times\u003C\u002Fa\u003E.\u003C\u002Fp\u003E\n\u003Cp\u003EOf course, there are those who haven't fallen for Amélie's charms. Writing for LA Weekly, Manohla Dargis \u003Ca href=\"https:\u002F\u002Fwww.metacritic.com\u002Fcritic\u002Fmanohla-dargis?filter=movies&page=71\"\u003Ecalled the film\u003C\u002Fa\u003E \"a frenetic bore that insists on its audience's adoration while making no demands upon their intelligence\", while Phil Hoad's anniversary piece for The Guardian in 2011 \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Ffilm\u002Ffilmblog\u002F2011\u002Foct\u002F18\u002Famelie-sweet-smell-success\"\u003Estated\u003C\u002Fa\u003E: \"I still find Audrey Tautou's boulevard busybody simpering to the point of psychosis.\" But Amélie would likely not take their words to heart – or perhaps cause a little light carnage by way of revenge, as she does upon the bullying greengrocer who harangues his meek assistant. \u003C\u002Fp\u003E\n\u003Cp\u003ECertainly the film had a marked impact upon the neighbourhood in which it is set. Café des 2 Moulins, at the intersection of Rue Lepic and Rue Cauchois in Montmartre, became a popular destination for tourists and fans of the film, with locals capitalising on the new-found attention. I visited it myself as a teenager obsessed with the film, aiming to emulate Audrey Tautou's chic appearance with my floral blouses and blunt-cut fringe. My sartorial success was minimal, but I fully credit Amélie with introducing me to French cinema, as it did countless others.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09w4msx"],"imageAlignment":"centre","imageAltText":"Cafe des 2 Moulins","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn an amusing twist, Amélie was rejected when it was submitted to the Cannes Film Festival, with Jeunet reporting that programmer Gilles Jacob called the film \"uninteresting\". In July of this year, Amélie finally did play at Cannes, in a special anniversary screening on the beach. Hundreds of fans – including myself – turned out to watch the film under the stars, in a setting that felt as romantic as the story itself.\u003C\u002Fp\u003E\n\u003Cp\u003ESo the Paris of Amélie might be a fantasy, but it's a beautiful one all the same; one that invites viewers to pause amid the hustle and bustle of our everyday lives to find moments of quiet magic. Although the reality of these moments is often mundane (Amélie chases the mystery of a man she keeps seeing in photobooths, only to discover he's a repair technician) that doesn't make them any less worthwhile, particularly in light of the period of prolonged isolation from which we are still slowly emerging. For Audrey Brisson, Amélie continues to play a part in her life even beyond the stage. \"I was on the phone waiting to speak to my bank the other day,\" she recalls. \"The hold music they were using was the Amélie soundtrack.\" There we have it: proof the magic of Amélie Poulain continues to work in mysterious ways.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made-16"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-09-17T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Amélie – the most stylish film ever made?","headlineShort":"Why Amélie is a magical masterpiece","image":["p09w4m72"],"imageAlignment":"centre","imageAltText":"Amelie","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"Amelie","promoImage":["p09w4m72"],"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"Twenty years on, the quirky romantic comedy is as iconic and timely as ever. Hannah Strong explores the film's unique appeal, and why its moments of magic are so right for now.","summaryShort":"Twenty years on, the quirky romantic comedy is as stylish and timely as ever","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2021-09-16T23:00:33.207307Z","entity":"article","guid":"be84cea3-4a00-4d26-93cf-30367e7aa835","id":"culture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made","modifiedDateTime":"2021-09-17T09:35:15.134265Z","project":"culture","slug":"20210916-amlie-the-most-stylish-film-ever-made","cacheLastUpdated":1635188204725},"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like","_id":"616ff5d445ceed7a454a0287","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fal-horner"],"bodyIntro":"The new James Bond film No Time To Die will be Daniel Craig's last – ushering in a new era for the franchise. But what changes can fans of the super-spy series expect, asks Al Horner.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EJames Bond is a man with no time to die, but plenty of experience being reborn. Since the character's big screen debut in 1962's Dr No, no fewer than seven actors have inhabited the 007 tux, with an eighth soon to join them. This month's latest instalment in the super-spy series is the last one to star Daniel Craig as the martini-sipping man of mystery, and as the release has neared, so has yet another wave of speculation about the actor set to follow him. Richard Madden, Tom Hardy and Bridgerton star Regé-Jean Page are among the rumoured recruits for MI6 service, but arguably the more fascinating question than \u003Cem\u003Ewho\u003C\u002Fem\u003E will play Bond is: what type of Bond will they get to play?\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210831-what-bond-villains-tell-us-about-the-world-we-live-in\"\u003EWhat Bond villains reveal about us\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210906-why-asian-superhero-shang-chi-could-truly-change-the-world\"\u003EA blockbuster set to change the world\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210907-films-showing-the-reality-of-marriage\"\u003EFilms showing the reality of marriage\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\"Each time a new actor becomes Bond, the series takes the opportunity to recalibrate itself to the ideology of the audience it's trying to talk to,\" says Dr Jaap Verheul, editor of The Cultural Life of James Bond – a new anthology of academic essays on the secret agent. You only need to look at the last 007 changing of the guard to see his point. The Craig era began in 2006 with Casino Royale, a film set in the shadows of 9\u002F11. Not only did the film pack a villain who, Judi Dench's character M implies, conspired with al-Qaeda to carry out the attacks, but there was also a new tone to go with its new 007. Director Martin Campbell filled every frame with a grit reflecting the era's cultural climate, in stark contrast to the cartoonishness of the spy's previous outing.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09vvqpp"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"The first Bond movie that actually came out post 9\u002F11 was 2002's Die Another Day,\" says Andrew Ellard, a screenwriter and script editor who's been a Bond obsessive since childhood. \"In that moment, the world was angry and paranoid and looking to understand the complexity of what had happened.\" What the world got instead was a Pierce Brosnan-starring Bond movie full of invisible cars and campy ice lairs. \"It just struck totally the wrong tone,\" he says. A critical panning followed, leading to Brosnan's dismissal and the search for a new start for the MI6 operative. Casino Royale, starring a haunted-looking blond with a cold detachment in his eye, was the result of that reset, re-tuning the character for a time of terrorism and geopolitical paranoia.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Bond can absorb whatever the culture is doing at the time and still be a Bond movie – Andrew Ellard","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe series' look and feel was updated, too. Critics, Verheul points out, drew comparisons between Casino Royale and \"the Christopher Nolan Batman movies and The Bourne Identity, which had been huge hits and had a much more realistic style.\" Bond, however, is such a huge cultural entity that it \"can absorb whatever the culture is doing at the time and still be a Bond movie,\" as Ellard puts it. \"Brosnan's first movie, Goldeneye, was full of henchmen getting machine-gunned, which was very much a response to Die Hard and the action boom of the late '80s, [while] over the years, we've had elements of Blaxploitation and [1970s martial arts genre] Chopsocky in Bond. Things even got a bit Thunderbirds-y in the middle of the Roger Moore films.\" \u003C\u002Fp\u003E\n\u003Cp\u003ECertainly, Casino Royale's changes were not a one-off. Every time a new Bond collects their Walther PPK and licence to kill, the series tends to update itself aesthetically, politically and otherwise. So what does this mean for the future of series? How does the 007 saga update itself to reflect a time of misinformation, Brexit and a looming climate crisis? And in a post-Marvel world where franchises are being fragmented into streaming service spin-offs, are we staring down the revolver barrel of a Bond cinematic universe? \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E\u003Cspan\u003EKeeping up with modern values\u003C\u002Fspan\u003E\u003C\u002Fstrong\u003E\u003Cspan\u003E\u003C\u002Fspan\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\"The world has moved on, Commander Bond. So stay in your lane. Or I will put a bullet in your knee.\" So says actress Lashana Lynch in the trailer to No Time To Die, in her role as Nomi – a Black female operative who's replaced Bond as the agent known as 007. It's a continuation of a gradual course correction within the Craig era towards more empowered female characters, after decades of behaviour by Bond that's now recognised as sexist. \"He’s incredibly good-looking and incredibly well-dressed. He always survives and he sleeps with a lot of women. If you're a straight white dude, for a long time, it's been very easy to go to Bond for wish fulfilment,\" says Ellard. From the hiring of Fleabag star Phoebe Waller-Bridge to help finesse the No Time To Die script to the recent reimagining of secretary character Moneypenny (now played by Naomie Harris) as a field-operative equal to Bond (instead of the office-bound object of his leering), Bond has been on a pathway to better female representation that's set to continue into whatever comes next.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09vvrcg"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"The sexism has certainly improved but there's still more distance to run in that regard. Skyfall had a scene where Bond sneaks into a women's shower, for example, which raises all sorts of questions about consent,\" says Ellard. \"How do you solve a problem like that? You put a woman on the writing team, or have a woman direct it.\" With filmmakers like Wonder Woman's Patty Jenkins, Black Widow's Cate Shortland and The Old Guard's Gina Prince-Bythewood waiting in the wings, all with acclaimed action movies behind them, there's certainly no shortage of women candidates to step into the director's seat on Bond 26.\u003C\u002Fp\u003E\n\u003Cp\u003EWhoever's in charge may also decide to continue the series' recent introspective approach to the character's past toxic behaviour. \"There's xenophobia and imperialism built into Bond, not to mention all sorts of homophobia,\" says Ellard. \"How you roll with that and make it work in modern times is a difficult question for whoever's making these movies, because this is a character built on a certain way of representing privilege and superiority that doesn't sit easily in 2021.\" In the Craig era, screenwriters Neal Purvis and Robert Wade found an inspired creative solution to this problem: feed that tension directly into the script, turning the discourse around Bond and his behaviour into dramatic tinderwood. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The rise of the far right feels like something the Bond films have to reach for, because it's impossible to ignore – Andrew Ellard","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAfter Goldeneye heralded the introduction of a female M, who accused Bond directly of being a \"sexist, misogynist dinosaur\" and \"relic of the Cold War\", the Daniel Craig films got \"ahead of the march on the question of how Bond can exist in 2021,\" says Ellard. \"[It did this] by actively saying: it's not great that he's killing people. It’s not great that he can cope with the blood on his hands, and for that just to be part of who he is.\" He points to the way that Casino Royale reframed the character's celebrated drinking as a coping mechanism for the guilt simmering within him as just one of the smart balancing acts. \"There's some gorgeous stuff in that film where he's looking haggard in the mirror and you're forced to say, 'I’m not sure I aspire to be that guy'. That was such an important reinvention.\" Bond 26 and beyond could decide to lean even further into the tension between the values Bond has represented in our culture, and how out of place those values seem now. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E\u003Cspan\u003EA new era of villainy?\u003C\u002Fspan\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EYou can tell a lot about an era by the Bond movies released in it, suggests Verheul. Case in point? \"The number of the women that Bond sleeps with, either on screen or implied. In the 1980s, for example, concern about the Aids pandemic had an influence on the character's promiscuity. Timothy Dalton's Bond was a much more prudent version of Bond as a result.\" Along the same lines, in Casino Royale and the Craig films that followed it, we saw what Ellard describes as \"a greater willingness to question whether the people running your country are entirely virtuous. In Quantum of Solace, it's very clear that the CIA are not good people. Bond ends up discovering that the CIA and British government are in cahoots, backing the machinations of [the criminal organisation] Quantum.\" It's no accident that this emerged as a theme in a time of mass scepticism over the US and Britain's invasions of Iraq and Afghanistan.\u003C\u002Fp\u003E\n\u003Cp\u003EThe geopolitical landscape is even more complicated today than the one Craig stepped into in 2006. Where Casino Royale introduced a shadowy threat informed by the perpetrators of the 11 September attacks, the next incumbent of the 007 director's chair will have misinformation, climate change and cyber warfare as potential jumping off points. The series has never shied away from pulling inspiration from real-life for its antagonists – 1997's Tomorrow Never Dies featured a plot about a megalomaniacal media mogul that was a thinly veiled amalgamation of Fox owner Rupert Murdoch and the press baron Robert Maxwell. In most instances though, there's still a certain extravagance to be added: Murdoch, to the best of this writer's knowledge, has never sought to spark a war between the UK and China in order to boost any of his news networks. 2021, however, is a time of super-rich, super-powerful figures who some might argue resemble real-life, ready-made Bond villains (naming no names). So how do you write a Bond villain for 2021 and beyond?\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09vvqt0"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"The emergence of the far right would be an enormous concern to any version of Bond,” suggests Ellard. \"Although it's broadly a conservative, slightly right-wing franchise about British heroes who don't trust foreigners, there's very clearly a line in the sand – they don't like Nazis. The rise of the [far] right… in Britain and America and France feels like something they have to reach for, because it's impossible to ignore.\" Alternatively, it could be that climate change forms inspiration for a villain. \"There are people in existence right now who are rich enough to stop global warming from happening. Their choice not to act, that's a form of villainy [that] it’d be interesting to explore.\"\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-10"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"It's exciting to imagine a Moneypenny spin-off where the hero in this traditionally male-skewing universe is now a heroine, and she's black – Jaap Verheul","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOne thing is for sure – don't expect the trope of these villains having facial deformities to continue for much longer. \"You've got Le Chiffre [from Casino Royale, played by Mads Mikkelsen] with his weeping tear duct. You've got Silva [from Skyfall, played by Javier Bardem] with his face dissolved. And now we've got Safin [in No Time To Die, played by Remi Malek] with a mask and facial disfigurement. Those things feel like a legacy of a past time,\" says Ellard, noting that in Spectre, the last Bond movie, \"they even managed to scar Blofeld [played by Christoph Waltz] along the way.\" In the Ian Fleming books that started it all, it was Bond who had the facial scar. In the author's Casino Royale novel, he describes Bond as possessing \"a dark, clean-cut face, with a three-inch scar showing whitely down the skin of the right cheek.\" After \u003Ca href=\"https:\u002F\u002Fwww.dailystar.co.uk\u002Ftv\u002Fnew-james-bond-film-branded-22934291\"\u003Ecriticism from campaigners\u003C\u002Fa\u003E, alleging that depicting villains with deformities reinforces negative stereotypes and make the lives of real-life sufferers harder, it'd be a welcome reversal to introduce a scar to the right cheek of the titular hero in the next Bond outing just as Fleming originally envisioned.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E\u003Cspan\u003EThe Bond cinematic universe? \u003C\u002Fspan\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAnother question on the horizon for Bond fans is what Amazon's new part-ownership of the franchise will mean for 007. The corporation has a streaming service to drive subscribers to, and the industry’s made a major turn towards \"cinematic universes\" in which stories are spread across a variety of films, TV shows, video games and more. Marvel initiated the trend with the Marvel Cinematic Universe. Star Wars then followed suit, with a wide slate of interconnecting titles set to start debuting later this year following the success of Disney+ show The Mandalorian. DC have tried it, and the Fast and Furious franchise is headed that way too. Will Jeff Bezos seek to maximise the earning potential of 007 by creating a wealth of new Bond-related content?\u003C\u002Fp\u003E\n\u003Cp\u003EThere is a precedent for it, says Verheul. \"In the medium of comics, there's a Latin American Bond who has been very successful. Bond novels are written in that format. I'd certainly be curious to see it. It's exciting to imagine a Moneypenny spin-off where the hero in this traditionally male-skewing universe is now a heroine, and she's black. I think there's a market for that,\" he adds.\u003C\u002Fp\u003E\n\u003Cp\u003EEllard points out a spin-off almost happened, years ago. \"They were going to do it with Halle Berry's character from Die Another Day. The script was written, but that never happened.\" Ultimately, he suspects the scarcity of Bond movies is key to its aura of sophistication. \"You can't appear quite so high end if you're making loads of things all the time. I love the MCU, but you can see the functioning conveyor belt. Bond has set itself apart as a rare jewel. You only get one every few years.\" If there were four Bond-related things coming out every year, akin to the Marvel Cinematic Universe, it's unlikely the Bond brand would get stronger.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09vvrkv"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhatever happens, and whoever's tossed the keys to the character's Aston Martin after Daniel Craig departs, there are some things about 007 that will never change, however. \"There's a lot of panic about the cultural politics of Bond,\" says Verheul, alluding to a lot of media hand-wringing about Bond going \"woke\" in the new film \u003Ca href=\"https:\u002F\u002Fwww.dailymail.co.uk\u002Ftvshowbiz\u002Farticle-7668333\u002FBond-gets-electric-car-wife-refuses-second-Time-Die-film.html\"\u003E(\"the wokest Bond ever\"\u003C\u002Fa\u003E British newspaper the Daily Mail gasped in 2019 after reports that Bond would drive an electric Aston Martin in No Time To Die). But Bond ultimately will always come down to a few central facets, he believes. \"The appeal is a certain formula: the gadgets, the glamour of international travel, some kind of romance and big action set pieces that aren't shot in front of a green screen. Add to that the association of Bond with Britishness – and I don’t think it's important how that Britishness is defined, good or bad, so long as it's engaging with it – and that, ultimately, is what makes a Bond film.\" James Bond is about to be reborn again, and after the revitalising Daniel Craig era, the possibilities feel endless. Step forward, whichever actor is next in line – we've been expecting you.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ENo Time To Die is released in the UK on 30 September and in the US on 8 October\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like-14"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-09-14T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"What the future of Bond movies could look like","headlineShort":"What Bond's next era will look like","image":["p09vvqn3"],"imageAlignment":"centre","imageAltText":"","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p09vvqpp"],"relatedStories":null,"relatedTag":null,"summaryLong":"The new James Bond film No Time To Die will be Daniel Craig's last – ushering in a new era for the franchise. But what changes can fans of the super-spy series expect, asks Al Horner.","summaryShort":"As Daniel Craig exits the franchise, this is what fans can expect","tag":["tag\u002Fcelebrating-bond"],"textToSpeech":false,"creationDateTime":"2021-09-13T23:15:26.372132Z","entity":"article","guid":"c65bf509-c6d6-43f3-9613-19897350aeea","id":"culture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like","modifiedDateTime":"2021-09-14T19:51:05.290922Z","project":"culture","slug":"20210913-what-the-future-of-bond-movies-could-look-like","cacheLastUpdated":1635188204725},"culture\u002Farticle\u002F20210913-the-eyes-of-tammy-faye-hollywood-oscar-bait":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20210913-the-eyes-of-tammy-faye-hollywood-oscar-bait","_id":"616ff5cb45ceed6a90791a02","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fcaryn-james"],"bodyIntro":"The Eyes of Tammy Faye is exactly what you'd expect from an unimaginative biopic – colourful, energetic and shallow – although Jessica Chastain puts in a dazzling performance, writes Caryn James.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThere aren't many screen heroines with the garishly bad taste of Tammy Faye Bakker, brought to flamboyant life by Jessica Chastain in The Eyes of Tammy Faye. But the real Tammy was also a one-of-a-kind spectacle. In the 1970s and '80s, comedians mocked her tarantula-like fake eyelashes and crying fits. But she was also embraced by her target audience, viewers of the popular daily talk show she starred in with her husband, Jim Bakker, one of the most successful televangelists of the time. He preached to the converted and asked them for money, and she belted out faith-based songs in a show broadcast on their own flourishing satellite television network. They even built a Christian theme park, Heritage USA. The empire crumbled after Jim admitted, in 1987, to paying hush money to a woman with whom he'd had a one-night stand, and two years later was convicted of fraud over their company's fundraising. On the day he was pronounced guilty, Tammy Faye, ever the show woman, sang on the courthouse steps.\u003C\u002Fp\u003E\n\u003Cp\u003EIn hindsight, she is a fascinating cultural figure for deeper reasons. Tammy Faye lived at the crossroads of fame, money, politics and religion at a crucial turning point in US history. The Bakkers became household names at the moment when evangelical Christians were gaining political power, getting behind Ronald Reagan. The gap between those who loved and those who scorned Tammy Faye foreshadowed the deep liberal-conservative divide in US politics today. Who was this woman, and what did she know about the scandals and political manoeuvres swirling around her?  \u003C\u002Fp\u003E\n\u003Cp\u003EThere must have been many sophisticated ways to delve into all that on screen, but Chastain – who generated the project and is a producer and star – and her colleagues chose to make something simpler. The Eyes of Tammy Faye is the definition of Hollywood Oscar bait, with a dynamic, physically shape-shifting performance at its centre, and a screenplay that suffers from all the flaws of a standard biopic. Following Tammy from girlhood to her post-scandal life after divorcing Jim in 1992, the story zooms from event to event, wig to wig, big red curls to big blonde curls, without letting us see why things happened. The director, Michael Showalter (The Big Sick), always keeps things moving and lively. The costumes – bright turquoise dresses and oversized earrings – capture Tammy's over-the-top style in the '80s. But The Eyes of Tammy Faye is exactly what you'd expect from an unimaginative biopic: colourful, energetic and shallow.\u003C\u002Fp\u003E\n\u003Cp\u003EThe feature is based on Fenton Bailey and Randy Barbato's 2000 documentary, also called The Eyes of Tammy Faye, which Bakker herself contributed to. Both attempt to redeem her from mockery. And both tell the story from her point of view, although Abe Sylvia's screenplay largely wastes that advantage, revealing what Tammy saw but rarely what she was thinking about it.\u003C\u002Fp\u003E\n\u003Cp\u003ETammy's Pentecostal mother, played by Cherry Jones with her usual ease, puts the fear of God in the child. When Tammy is a young woman, Chastain appears in a puffy blonde wig and gives us the character who never really goes away, a giggly, optimistic innocent with a little girl's voice. Throughout the story Chastain makes us believe that Tammy truly loves God and other people. She does justice to her singing and on-air charisma. It's a dazzling performance even as the character ages and the actress acquires more padding and prosthetics, more layers of silvery eye shadow. (The real Tammy Faye, who was never charged with any crime, died in 2007).\u003C\u002Fp\u003E\n\u003Cp\u003EAt Bible college, Tammy meets Jim Bakker, played by Andrew Garfield with just the right amount of smirk and sleaze – enough so that we notice, but not enough to make us turn away. Tammy loves make-up and music, which her church frowns on. Bakker, in a practice turn at preaching, says: \"God does not want us to be poor.\" They have found their soulmates.\u003C\u002Fp\u003E\n\u003Cp\u003ETammy is often the brains behind Jim. She sees the evangelist Pat Robertson's television show and tells Jim he'd be even better at that. And at a lunch for televangelists and their wives, she strides past the women's table and joins the men surrounding the influential, archconservative Jerry Falwell. As Falwell, Vincent D'Onofrio has the right glasses but isn't much more than a foil for Tammy. He rages against feminists and homosexuals, and she sweetly says she just sees everyone as a human being God loves.\u003C\u002Fp\u003E\n\u003Cp\u003ETammy Faye was, in fact, ahead of her time and out of step with her church in her support of gay rights. In a recreated scene from her show in 1985, she talks to a gay man with Aids, weeping, \"How sad that we as Christians… won’t go up to an Aids patient and put our arms around them and tell them that we care.\" It is a revealing moment, but just one more stop as the story races on, Jim ignores Tammy sexually, and she leans into her own stereotype. \"They're my trademark,\" she says when a make-up artist dares to suggest removing her false lashes.\u003C\u002Fp\u003E\n\u003Cp\u003EThe Eyes of Tammy Faye works well enough on its own limited terms, except for the giant question it teases and never actually engages with. What did Tammy know? She sees Jim wrestling with another man and looks alarmed. She dismisses allegations that he is gay, then turns, lets her smile fade and pops another tranquiliser. When news reports surface about Bakker's financial schemes, she says to him tentatively, \"We're not doing anything wrong.\" He responds, \"Is that a question?\" Ignoring the chance to know more, she simply says, \"No.\" Wilful blindness, even so sketchily filled in, doesn’t exactly make her the heroine this engaging and frustrating film purports her to be. The Eyes of Tammy Faye isn't nuanced, but no one ever said nuance and Oscars go together.\u003C\u002Fp\u003E\n\u003Cp\u003E★★★☆☆\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EThe Eyes of Tammy Faye opens on 17 September in the US.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20210913-the-eyes-of-tammy-faye-hollywood-oscar-bait-0"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-09-13T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The Eyes of Tammy Faye: 'Hollywood Oscar bait'","headlineShort":"'The definition of Oscar bait'","image":["p09vtg6m"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. 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