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{ content: '\e01f'; } .gelicon--degraded::before { content: '\e020'; } .gelicon--calendar-mini::before { content: '\e021'; } .gelicon--calendar::before { content: '\e022'; } .gelicon--mail::before { content: '\e023'; } .gelicon--location::before { content: '\e024'; } .gelicon--load::before { content: '\e025'; } .gelicon--settings::before { content: '\e026'; } .gelicon--embed::before { content: '\e027'; } .gelicon--external::before { content: '\e028'; } .gelicon--traffic::before { content: '\e029'; } .gelicon--refresh::before { content: '\e02a'; } .gelicon--link::before { content: '\e02b'; } .gelicon--point::before { content: '\e02c'; } .gelicon--upload::before { content: '\e02d'; } .gelicon--download::before { content: '\e02e'; } .gelicon--finder::before { content: '\e02f'; } .gelicon--stations::before { content: '\e030'; } .gelicon--untitled::before { content: '\42'; } .gelicon--untitled-2::before { content: '\43'; } .gelicon--quote::before { content: '\22'; } .gelicon--playlister-add::before { content: '\e031'; } .gelicon--calendar-30::before { content: '\e032'; } .gelicon--download-desktop::before { content: '\e033'; } .gelicon--map::before { content: '\e034'; } .gelicon--previous-alternative::before { content: '\e035'; } .gelicon--next-alternative::before { content: '\e036'; } .gelicon--arrow-down::before { content: '\e038'; } /* Media icons */ .gelicon--menu, .gelicon--live, .gelicon--subtitles, .gelicon--ws, .gelicon--sd, .gelicon--hd, .gelicon--bsl, .gelicon--ad, .gelicon--3d, .gelicon--tv, .gelicon--radio, .gelicon--mobile, .gelicon--desktop, .gelicon--game, .gelicon--tablet, .gelicon--quiz, .gelicon--guidance, .gelicon--record, .gelicon--listen, .gelicon--play, .gelicon--pause, .gelicon--rewind, .gelicon--forward, .gelicon--restart, .gelicon--image, .gelicon--document, .gelicon--slideshow, .gelicon--activity, .gelicon--360, .gelicon--podcast, .gelicon--newsletter, .gelicon--rss, .gelicon--fullscreen, .gelicon--expand, .gelicon--popout, .gelicon--mute, .gelicon--music-on, .gelicon--music-off, .gelicon--windows, .gelicon--apple, .gelicon--interactive { font-family: 'gelicons-media' !important; } /* Begin Icons */ .gelicon--menu::before { content: '\e900'; } .gelicon--live::before { content: '\e100'; } .gelicon--subtitles::before { content: '\e101'; } .gelicon--ws::before { content: '\e102'; } .gelicon--sd::before { content: '\e103'; } .gelicon--hd::before { content: '\e104'; } .gelicon--bsl::before { content: '\e105'; } .gelicon--ad::before { content: '\e106'; } .gelicon--3d::before { content: '\e107'; } .gelicon--tv::before { content: '\e108'; } .gelicon--radio::before { content: '\e109'; } .gelicon--mobile::before { content: '\e10a'; } .gelicon--desktop::before { content: '\e10b'; } .gelicon--game::before { content: '\e10c'; } .gelicon--tablet::before { content: '\e10d'; } .gelicon--quiz::before { content: '\e10e'; } .gelicon--guidance::before { content: '\e10f'; } .gelicon--record::before { content: '\e110'; } .gelicon--listen::before { content: '\e111'; } .gelicon--play::before { content: '\e112'; } .gelicon--pause::before { content: '\e113'; } .gelicon--rewind::before { content: '\e114'; } .gelicon--forward::before { content: '\e115'; } .gelicon--restart::before { content: '\e116'; } .gelicon--image::before { content: '\e117'; } .gelicon--document::before { content: '\e118'; } .gelicon--slideshow::before { content: '\e119'; } .gelicon--activity::before { content: '\e11a'; } .gelicon--360::before { content: '\e11b'; } .gelicon--podcast::before { content: '\e11c'; } .gelicon--newsletter::before { content: '\e11d'; } .gelicon--rss::before { content: '\e11e'; } .gelicon--fullscreen::before { content: '\e11f'; } .gelicon--expand::before { content: '\e120'; } .gelicon--popout::before { content: '\e121'; } .gelicon--mute::before { content: '\e122'; } .gelicon--music-on::before { content: '\e123'; } .gelicon--music-off::before { content: '\e124'; } .gelicon--windows::before { content: '\e125'; } .gelicon--apple::before { content: '\e126'; } .gelicon--interactive::before { content: '\e900'; } /* Social Icons */ .gelicon--share, .gelicon--recommend, .gelicon--comments, .gelicon--blog, .gelicon--smiley, .gelicon--love, .gelicon--twitter, .gelicon--facebook, .gelicon--google-plus, .gelicon--google, .gelicon--spotify, .gelicon--pinterest, .gelicon--tumblr, .gelicon--stumbleupon, .gelicon--linkedin, .gelicon--reddit, .gelicon--digg, .gelicon--instagram, .gelicon--whatsapp { font-family: 'gelicons-social' !important; } /* GEL */ .gelicon--share::before { content: '\e200'; } .gelicon--recommend::before { content: '\e201'; } .gelicon--comments::before { content: '\e202'; } .gelicon--blog::before { content: '\e203'; } .gelicon--smiley::before { content: '\e204'; } .gelicon--love::before { content: '\e205'; } /* THIRD PARTY */ .gelicon--twitter::before { content: '\e300'; } .gelicon--facebook::before { content: '\e301'; } .gelicon--google-plus::before { content: '\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/20220116005854im_/https://www.bbc.com/culture/article/%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 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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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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='%23fff' stroke-width='3' fill='%23fff'%3E%3Ccircle mask='url(%23c)' cx='11.5' cy='11.5' r='9.25'/%3E%3Cuse xlink:href='%23b' mask='url(/web/20220116005854im_/https://www.bbc.com/culture/article/%23c)'/%3E%3C/g%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl.mapboxgl-ctrl-attrib { padding: 0 5px; background-color: rgba(255, 255, 255, 0.5); margin: 0; } @media screen { .mapboxgl-ctrl-attrib.mapboxgl-compact { min-height: 20px; padding: 0; margin: 10px; position: relative; background-color: #fff; border-radius: 3px 12px 12px 3px; } .mapboxgl-ctrl-attrib.mapboxgl-compact:hover { padding: 2px 24px 2px 4px; visibility: visible; margin-top: 6px; } .mapboxgl-ctrl-bottom-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:hover, .mapboxgl-ctrl-top-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:hover { padding: 2px 4px 2px 24px; border-radius: 12px 3px 3px 12px; } .mapboxgl-ctrl-attrib.mapboxgl-compact .mapboxgl-ctrl-attrib-inner { display: none; } .mapboxgl-ctrl-attrib.mapboxgl-compact:hover .mapboxgl-ctrl-attrib-inner { display: block; } .mapboxgl-ctrl-attrib.mapboxgl-compact:after { content: ""; cursor: pointer; position: absolute; background-image: 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 20' xmlns='http://www.w3.org/2000/svg' fill-rule='evenodd' fill='%23fff'%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"); } } @media screen and (-ms-high-contrast: black-on-white) { .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 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"); } } .mapboxgl-ctrl-attrib a { color: rgba(0, 0, 0, 0.75); text-decoration: none; } .mapboxgl-ctrl-attrib a:hover { color: inherit; text-decoration: underline; } .mapboxgl-ctrl-attrib .mapbox-improve-map { font-weight: 700; margin-left: 2px; } .mapboxgl-attrib-empty { display: none; } .mapboxgl-ctrl-scale { background-color: rgba(255, 255, 255, 0.75); font-size: 10px; border: 2px solid #333; border-top: #333; 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; 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loader__body--show-loader"><div class="loading-spinner"><span class="loading-spinner__image"><span class="spinner--culture"><svg class="spinner__image" viewbox="0 0 32 32" id="gel-icon-loading" width="100%" height="100%"><path d="M29.8 8l-3.5 2c1 1.8 1.6 3.8 1.6 6 0 6.6-5.4 12-12 12S4 22.6 4 16 9.4 4 16 4V0C7.2 0 0 7.2 0 16s7.2 16 16 16 16-7.2 16-16c0-2.9-.8-5.6-2.2-8z"></path></svg></span></span><span class="loading-spinner__message b-reith-sans-font">Loading</span></div></div></div><main class="main"><div class="WaypointsList"><div class="WaypointsList__item WaypointsList__item--is-active"><section class="article" id="culturearticle20220105-the-underrated-genius-of-david-bowies-acting"><div id="headline-culturearticle20220105-the-underrated-genius-of-david-bowies-acting"><div class="article-headline article-headline--mobile article-headline--tablet article-headline--largeTablet" role="heading" aria-level="1"><div class="article-headline__collection"><div class="article-labels b-reith-sans-font b-font-weight-300"><a class="article-labels__text b-reith-sans-font" target="" rel="" id="" href="/web/20220116005854/https://www.bbc.com/culture/columns/film"><span>Film</span><span class="article-labels__delimiter b-font-weight-300"> | </span></a><a class="article-labels__text b-reith-sans-font" target="" rel="" id="" href="/web/20220116005854/https://www.bbc.com/culture/tags/film-history">Film history</a></div></div><div class="article-headline__text b-reith-sans-font b-font-weight-300" tabindex="-1">The underrated genius of David Bowie's acting</div><div class="article-share-tools"><a href="https://web.archive.org/web/20220116005854/mailto:/?subject=Shared from BBC:The%20underrated%20genius%20of%20David%20Bowie's%20acting&body=https%3A%2F%2Fwww.bbc.com%2Fculture%2Farticle%2F20220105-the-underrated-genius-of-david-bowies-acting%3Focid%3Dww.social.link.email" class="email-icon gelicon--mail" target="_blank" rel="noopener noreferrer" id=""><span 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class="screen-reader-only">Share on Facebook</span></a><a href="https://web.archive.org/web/20220116005854/https://www.linkedin.com/shareArticle?mini=true&url=https%3A%2F%2Fwww.bbc.com%2Fculture%2Farticle%2F20220105-the-underrated-genius-of-david-bowies-acting%3Focid%3Dww.social.link.linkedin&title=The%20underrated%20genius%20of%20David%20Bowie's%20acting" class="linkedin-icon gelicon--linkedin" target="_blank" rel="noopener noreferrer" id=""><span class="screen-reader-only">Share on Linkedin</span><div id="LinkedInIcon"></div></a></div></div><div class="hero-image"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfds1g.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfds1g.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfds1g.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfds1g.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfds1g.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfds1g.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfds1g.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfds1g.jpg" type="image/jpeg"/><img draggable="false" title="The Man Who fell to Earth" src="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfds1g.jpg" alt="The Man Who fell to Earth" id=""/></picture></div></div><div class="article__container"><div class="article__main"><div class="article__subcontainer"><article class="article__body"><div class="article__author-unit"><div class="author-unit author-unit--smal-mobile"><div class="author-unit__container author-unit__container--desktop"><a class="author-unit__text b-font-family-serif" target="" rel="" id="">By Rachel Pronger</a><span class="b-font-family-serif b-font-weight-300">6th January 2022</span></div><div class="author-unit__line"><div class="styled-line styled-line--dark-grey styled-line--large"></div></div></div></div><div class="article__body-content"><div class="article__intro b-font-family-serif">As we approach the 75th anniversary of Bowie's birth, we explore his unpredictable film roles. Every part he played was 'in conversation with his many alter egos', argues Rachel Pronger.</div><div><div class="body-text-card b-reith-sans-font"><div class="drop-capped b-reith-sans-font drop-capped--culture">O</div><div class="body-text-card__text body-text-card__text--culture body-text-card__text--drop-capped body-text-card__text--flush-text"><div><p>One of the many pioneering elements of David Bowie's career was his commitment to the visual. For Bowie, sound and vision went hand in hand. His many star personas – Ziggy Stardust, Aladdin Sane, Major Tom – each came with their own fully realised aesthetic worlds, costumes, make-up and artwork that were as instantly recognisable as the music itself. Long before the advent of MTV, Bowie was making short films to promote his music, and he would go on to push the boundaries of the form with iconic videos such as Ashes to Ashes. Indeed, Bowie's final gift to the world came in filmic form – the video for his last single <a href="https://web.archive.org/web/20220116005854/https://www.bbc.co.uk/news/av/entertainment-arts-35278855">Lazarus</a> was released on 7 January 2016, just three days before his death.</p> <p><strong>More like this:</strong></p> <p>- <a href="https://web.archive.org/web/20220116005854/https://www.bbc.com/culture/article/20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail">The cult 90s film that blazed a trail</a></p> <p>- <a href="https://web.archive.org/web/20220116005854/https://www.bbc.com/culture/article/20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear">Stories that reflect our oldest fear</a></p> <p>- <a href="https://web.archive.org/web/20220116005854/https://www.bbc.com/culture/article/20210106-the-photos-that-made-david-bowie-an-icon">The photos that made Bowie an icon</a></p> <p>It's unsurprising that this most mercurial of artists, with his visual sensibility and <a href="https://web.archive.org/web/20220116005854/https://www.bbc.com/culture/article/20170907-david-bowie-fashion-and-the-art-of-reinvention">many alter-egos</a>, would be drawn to film. Yet, while Bowie's legendary status in music is beyond question, quantifying his contribution to cinema as an actor is more complicated. In the three decades between The Man Who Fell to Earth (1976) and The Prestige (2006), Bowie appeared in dozens of films but – despite that span of credits – only a few of these roles came close to making the most of his talent. When we leave aside the many cameos – of which the uncontested <em>crème de le crème</em> is Bowie solemnly adjudicating a runway walk-off in Zoolander – and the forgettable flops – the less said about Just a Gigolo, the better – we are left with only a handful of performances. Yet those acting roles that did manage to effectively exploit Bowie's gifts are easily enough to secure his status as a cinema icon. When matched with an inventive director, Bowie could be an unforgettable screen presence.</p> </div></div></div></div><div class="article-body__image-text article-body__image-text--landscape"><div id="culture/article/20220105-the-underrated-genius-of-david-bowies-acting-p0bfdqrb"><div><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfdqrb.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfdqrb.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfdqrb.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfdqrb.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdqrb.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdqrb.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfdqrb.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfdqrb.jpg" type="image/jpeg"/><img draggable="false" title="The star's charismatic performance as the Goblin King in the 1986 fantasy Labyrinth has helped make the film a cult classic (Credit: BFI)" src="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdqrb.jpg" alt="The star's charismatic performance as the Goblin King in the 1986 fantasy Labyrinth has helped make the film a cult classic (Credit: BFI)" id=""/></picture><div class="inline-image__description b-reith-sans-font"><div class="text-summary"><p class="text-summary__text text-summary__text--grey text-summary__text--left">The star's charismatic performance as the Goblin King in the 1986 fantasy Labyrinth has helped make the film a cult classic (Credit: BFI)</p></div></div></div></div></div><div><div class="body-text-card b-reith-sans-font"><div class="body-text-card__text body-text-card__text--culture body-text-card__text--flush-text"><div><p>From the start of his career, Bowie was an artist who often turned to cinema for inspiration. Whether referencing Stanley Kubrick on Space Oddity, posing like Greta Garbo on the cover of Hunky Dory or channelling German expressionism as the Thin White Duke, Bowie was constantly drawing on film iconography in his music. Filmmakers quickly identified his potential as a subject, with documentaries such as DA Pennebaker's Ziggy Stardust and the Spiders from Mars (1979) and Alan Yentob's Cracked Actor (1975) capturing spectacular live performances and intimate behind-the-scenes footage.</p> <p>Cracked Actor depicts Bowie at the height of his 1970s fame, rattled by cocaine, and driven to the brink of sanity by the pressures of stardom. It was this image of a strung-out Bowie driving around LA in the back of a limousine that inspired Nicolas Roeg to cast the musician in his first major film role. The Man Who Fell to Earth is the story of Thomas Newton, an alien on a rescue mission from his home planet who crash-lands on Earth and ends up stranded in the New Mexico desert. Disguised as a human, Newton attempts to raise money for a new spaceship by selling alien technologies but soon becomes corrupted by human vices.</p> </div></div></div></div><div class="article-body__pull-quote"><blockquote class="inline-quote b-font-family-serif b-font-weight-300 inline-quote--culture"><h2 class="simple-header b-reith-sans-font b-font-family-serif b-font-weight-300 simple-header--serif-light-italic simple-p-tag--medium simple-p-tag--quote">Without Bowie, The Man Who Fell to Earth would be an intriguing curio; with him, it becomes a classic</h2></blockquote></div><div><div class="body-text-card b-reith-sans-font"><div class="body-text-card__text body-text-card__text--culture body-text-card__text--flush-text"><div><p>By 1975, Roeg had already established his reputation with arthouse landmarks such as Walkabout and Don't Look Now. The Man Who Fell to Earth brought together one of the most interesting directors of the 1970s with the decade's defining popstar, and the result is a trippy triumph. Like Bowie's music, the film mashes up genres – sci-fi, political thriller, romance – and channels the counter-cultural mood of the time to create something bracingly new. With a fragmented, often confusing narrative, it's a genuinely risky film that feels as if it could crash land at any moment, but which is held together by a magnetic central performance. Without Bowie, The Man Who Fell to Earth would be an intriguing curio; with him, it becomes a classic.</p> </div></div></div></div><div class="article-body__image-text article-body__image-text--landscape"><div id="culture/article/20220105-the-underrated-genius-of-david-bowies-acting-p0bfdqgr"><div><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfdqgr.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfdqgr.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfdqgr.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfdqgr.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdqgr.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdqgr.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfdqgr.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfdqgr.jpg" type="image/jpeg"/><img draggable="false" title="Christopher Nolan's period thriller The Prestige (2006) features Bowie as maverick inventor Nikola Tesla (Credit: BFI)" src="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdqgr.jpg" alt="Christopher Nolan's period thriller The Prestige (2006) features Bowie as maverick inventor Nikola Tesla (Credit: BFI)" id=""/></picture><div class="inline-image__description b-reith-sans-font"><div class="text-summary"><p class="text-summary__text text-summary__text--grey text-summary__text--left">Christopher Nolan's period thriller The Prestige (2006) features Bowie as maverick inventor Nikola Tesla (Credit: BFI)</p></div></div></div></div></div><div><div class="body-text-card b-reith-sans-font"><div class="body-text-card__text body-text-card__text--culture body-text-card__text--flush-text"><div><p>Part of Bowie's power lies in his astonishing physical presence. Pale and emaciated, with streaks of red hair falling into mismatched eyes, Bowie requires little make-up to convince as an alien in disguise. A series of retro costumes – wide fedoras, loose high-waisted trousers, tight white T-shirts – draw out his androgynous beauty and emphasise Newton's genderless nature. That blurring of gender boundaries is reflected too in Bowie's frail physicality and delicate movements. Bowie's Newton moves initially with the faltering steps of someone learning to walk again. When he collapses in a hotel lift, chambermaid and future lover Cindy Lou (Candy Clarke) scoops him into her arms, and carries him to bed as if he weighs nothing at all.</p> <p>But there is more to this performance than a dazzling surface. In the throes of his addiction, Bowie was in a fragile mental state during the shoot, and his sense of dissociation is perhaps part of what makes him so frighteningly credible as a stranded alien. At times, as Bowie oscillates between sweet helplessness and terrifying volatility, it feels more like a possession than a performance. Scenes in which Newton succumbs to addiction, sitting before a wall of wailing televisions or stirring his drinks with a gun, crackle with manic energy. The final image of Newton slumped in his seat, just another drunk with nowhere to go, is devastating.</p> <p>By casting Bowie, Roeg encourages us to blur the boundaries between character and performer, and in doing so draws out new layers of meaning. Newton, adrift in cowboy country with a London accent and British papers, is an alien in several senses. It's possible to read the film as a straight sci-fi, but also as a metaphor for the outsider status of the immigrant, for the loneliness of genius or for the isolation of celebrity. Much of Bowie's art feels like it comes from another planet but, as his tender performance demonstrates, to be exceptional can be alienating.</p> </div></div></div></div><div class="article-body__image-text article-body__image-text--landscape"><div id="culture/article/20220105-the-underrated-genius-of-david-bowies-acting-p0bfdphh"><div><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfdphh.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfdphh.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfdphh.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfdphh.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdphh.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdphh.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfdphh.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfdphh.jpg" type="image/jpeg"/><img draggable="false" title="In the biopic Basquiat (1996), Bowie plays the role of Andy Warhol with a wry playfulness (Credit: BFI)" src="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdphh.jpg" alt="In the biopic Basquiat (1996), Bowie plays the role of Andy Warhol with a wry playfulness (Credit: BFI)" id=""/></picture><div class="inline-image__description b-reith-sans-font"><div class="text-summary"><p class="text-summary__text text-summary__text--grey text-summary__text--left">In the biopic Basquiat (1996), Bowie plays the role of Andy Warhol with a wry playfulness (Credit: BFI)</p></div></div></div></div></div><div><div class="body-text-card b-reith-sans-font"><div class="body-text-card__text body-text-card__text--culture body-text-card__text--flush-text"><div><p>In The Man Who Fell to Earth, Roeg set the template that would define Bowie's film career. All of his most successful screen performances share certain hallmarks – an unusually imaginative director, a role as an exceptional outsider, a blurring between star persona and character. Music critics tend to praise Bowie's chameleonic quality, his ability to switch from extra-terrestrial rock to blue-eyed soul to polished pop in the blink of an eye. Yet as an actor, Bowie was no chameleon – instead of disappearing into his roles, he floated above them, always a level removed. This distance meant that every part Bowie played was inevitably in conversation with his many alter egos, and with the nature of fame itself.</p> <p><strong>Reality and performance</strong></p> <p>Bowie's most effective performances tap into that meta-commentary. An example of this is his brief but memorable appearance as Andy Warhol in Julian Schnabel's biopic Basquiat (1996). Based on Schnabel's friendship with the artist Jean-Michel Basquiat, the film is full of characters modelled on real people from the 1980s New York art scene. In real life, Warhol was a hero of Bowie's – there's a song dedicated to him on Hunky Dory – and the two had crossed paths at parties. By casting Bowie, Schnabel has one legendary artist disguise themselves as another, and in doing so taps into the same ideas about fame that defined Warhol's art. Bowie delivers a delightfully ironic turn, peering out from beneath a silver shock wig (taken from Warhol's real-life wig collection), his lip curled in constant amusement. In a film that sometimes takes itself too seriously, Bowie delivers a dose of wry camp, playfully exposing the shallow nature of artworld celebrity and once again blurring the boundaries between reality and performance.</p></div></div></div></div><div class="article-body__pull-quote"><blockquote class="inline-quote b-font-family-serif b-font-weight-300 inline-quote--culture"><h2 class="simple-header b-reith-sans-font b-font-family-serif b-font-weight-300 simple-header--serif-light-italic simple-p-tag--medium simple-p-tag--quote">In The Hunger, Bowie's creature of the night is exquisitely stylish and devastatingly sexy</h2></blockquote></div><div><div class="body-text-card b-reith-sans-font"><div class="body-text-card__text body-text-card__text--culture body-text-card__text--flush-text"><div><p>On a similar wavelength, but even better, is Bowie's supporting role as the inventor Nikola Tesla in Christopher Nolan's tricksy period thriller The Prestige (2006)<em>. </em>Tesla was another famous maverick, a Serbian-born pioneer of electronic engineering who died in 1943 after a troubled but influential life. In Bowie's interpretation, Tesla becomes a kind of real-life twin to Thomas Newton, a displaced genius who teases the boundary between magic and science – and is ultimately destroyed by the greed of those who surround him. Like Newton, Bowie's Tesla arrives with a bang, appearing apparently from nowhere in a cloud of sparks. Bowie's occasionally extravagant performance – all lustrous moustache and lilting, indeterminate accent – is tempered by a core of vulnerability that grounds this archetypal mad scientist in poignant reality.</p></div></div></div></div><div class="article-body__image-text article-body__image-text--landscape"><div id="culture/article/20220105-the-underrated-genius-of-david-bowies-acting-p0bfdr7t"><div><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfdr7t.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfdr7t.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfdr7t.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfdr7t.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdr7t.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdr7t.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfdr7t.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfdr7t.jpg" type="image/jpeg"/><img draggable="false" title="In Tony Scott's 1983 film The Hunger, Bowie put in an elegantly unhinged performance alongside Catherine Deneuve (Credit: Getty Images)" src="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdr7t.jpg" alt="In Tony Scott's 1983 film The Hunger, Bowie put in an elegantly unhinged performance alongside Catherine Deneuve (Credit: Getty Images)" id=""/></picture><div class="inline-image__description b-reith-sans-font"><div class="text-summary"><p class="text-summary__text text-summary__text--grey text-summary__text--left">In Tony Scott's 1983 film The Hunger, Bowie put in an elegantly unhinged performance alongside Catherine Deneuve (Credit: Getty Images)</p></div></div></div></div></div><div><div class="body-text-card b-reith-sans-font"><div class="body-text-card__text body-text-card__text--culture body-text-card__text--flush-text"><div><p>The same otherworldly quality that makes Bowie's takes on Warhol and Tesla so successful, is also used to beguiling effect in two 1980s cult classics. Jim Henson's fantasy <a href="https://web.archive.org/web/20220116005854/https://www.bbc.com/culture/article/20160621-why-labyrinth-is-so-memorable">Labyrinth</a> (1986) was a commercial disappointment on first release but has since become a cult favourite. Bowie's justifiably much-loved performance as the Goblin King is key to the film's appeal. Resplendent in bejewelled blouses, outrageously tight trousers and a shocking wig that tops even Warhol's, Bowie relishes the opportunity to play the villain. On his own terms, Henson was himself something of a genius, and like Roeg he delivers a series of memorable images that capitalise on his star's incandescent charisma. Bowie's Jareth fizzes with mischievous magic, as he materialises like a shimmering apparition in an open window or strides upside-down across rotating Escher-indebted stairways.</p> <p>Tony Scott's uneven The Hunger (1983) is less satisfying overall but does offer the tantalising prospect of Bowie as one half of a stylish vampire couple alongside Catherine Deneuve. The Hunger came out immediately after the release of Bowie's phenomenally successful Let’s Dance album, and the role offers a goth twist on his slickly handsome 80s pop persona. Bowie's creature of the night is exquisitely stylish and devastatingly sexy, prowling blue-lit Manhattan nightclubs in sunglasses searching for his next fix. The film is worth watching for Bowie's elegantly unhinged performance and for its moments of delirious excess, such as an exhilarating opening sequence in which Bowie and Deneuve procure a couple of hipsters for dinner to an unsettling Bauhaus soundtrack.</p> <p>In the same year that Bowie went full goth in The Hunger, he also delivered one of his most substantial and grounded performances. In Nagisa Ōshima's Merry Christmas, Mr Lawrence (1983), Bowie stars as Major Celliers, a soldier serving in Java during World War Two, who is captured and sent to a brutal Japanese prison camp. In confinement, Celliers becomes a leadership figure for his fellow prisoners and an object of obsession for the camp's commander Captain Yonoi (Ryuichi Sakamoto).</p></div></div></div></div><div class="article-body__image-text article-body__image-text--landscape"><div id="culture/article/20220105-the-underrated-genius-of-david-bowies-acting-p0bfdpyh"><div><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfdpyh.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1600x900/p0bfdpyh.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfdpyh.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/1280x720/p0bfdpyh.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdpyh.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdpyh.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfdpyh.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/624x351/p0bfdpyh.jpg" type="image/jpeg"/><img draggable="false" title="Bowie brought a subversive edge to his role as a soldier in a Japanese prison camp in 1983 film Merry Christmas, Mr Lawrence (Credit: BFI)" src="https://web.archive.org/web/20220116005854im_/https://ychef.files.bbci.co.uk/976x549/p0bfdpyh.jpg" alt="Bowie brought a subversive edge to his role as a soldier in a Japanese prison camp in 1983 film Merry Christmas, Mr Lawrence (Credit: BFI)" id=""/></picture><div class="inline-image__description b-reith-sans-font"><div class="text-summary"><p class="text-summary__text text-summary__text--grey text-summary__text--left">Bowie brought a subversive edge to his role as a soldier in a Japanese prison camp in 1983 film Merry Christmas, Mr Lawrence (Credit: BFI)</p></div></div></div></div></div><div><div class="body-text-card b-reith-sans-font"><div class="body-text-card__text body-text-card__text--culture body-text-card__text--flush-text"><div><p>In many ways, this is Bowie's straightest performance. Tanned and movie-star handsome, aside from his endearingly crooked British teeth, Bowie's Celliers initially embodies dignified masculine power. Yet, as is always the case with his best performances, Bowie brings to the surface a subversive subtext, drawing out the queerness that lies beneath many war-movie tropes. As the film progresses, Celliers infuriates his captors with increasingly transgressive acts of rebellion, showing his contempt for authority through flamboyant performances, singing songs, collecting flowers and even by kissing Yonoi. By casting Bowie alongside fellow musician Sakamoto (a legendary popstar in his own right), Ōshima presents us with a face-off between two titans of 20th-Century music. The homoerotic tension between the pair culminates in an ambiguous moment when, having sentenced Celliers to be buried alive, Yanoi visits the condemned man to cut a lock of his hair, like a fan or a lover would. The film's climactic image of Celliers buried neck-deep in the sand, his hair bleached by the blazing sun, is an arresting tableau fit for an album cover.</p> <p>In the aftermath of the star's death, such indelible images have gained new significance. Bowie's death robbed us of future music, but it also took away the possibility of more film roles, of more opportunities for this most unusual of artists to enchant and surprise us at the cinema. Not all of Bowie's roles were worthy of his talent, but those that were have at least left us with some kind of compensation. The Starman may be gone, but some element of his extraordinary charisma will always remain, a glittering after-image burned forever on to the silver screen.</p> <p><a href="https://web.archive.org/web/20220116005854/https://whatson.bfi.org.uk/Online/default.asp?BOparam::WScontent::loadArticle::permalink=davidbowie&BOparam::WScontent::loadArticle::context_id=&gclid=CjwKCAiAzrWOBhBjEiwAq85QZzyklusZ_Vc51WtnRZ1RbMrxVu0iJXNAwQuk1XtNPgnZlSgzSOzZThoCJlYQAvD_BwE"><em>Bowie: Starman and the Silver Screen</em></a><em> is at BFI Southbank, London, until the end of January, with select films available to stream on </em><a href="https://web.archive.org/web/20220116005854/https://player.bfi.org.uk/subscription/collection/david-bowie"><em>BFI Player</em></a>.</p> <p><em>Love film and TV? 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Alamy)","templateUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20220116005854\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp0bbdp3q.jpg","title":"Comet","creationDateTime":"0001-01-01T00:00:00Z","entity":"image","guid":"","id":"p0bbdp3q","modifiedDateTime":"0001-01-01T00:00:00Z","project":"","slug":"","url":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20220116005854\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp0bbdp3q.jpg","cacheLastUpdated":1642294169520}},"articles":{"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting","_id":"61d6311a45ceed43b339f7a3","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Frachel-pronger"],"bodyIntro":"As we approach the 75th anniversary of Bowie's birth, we explore his unpredictable film roles. Every part he played was 'in conversation with his many alter egos', argues Rachel Pronger.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOne of the many pioneering elements of David Bowie's career was his commitment to the visual. For Bowie, sound and vision went hand in hand. His many star personas – Ziggy Stardust, Aladdin Sane, Major Tom – each came with their own fully realised aesthetic worlds, costumes, make-up and artwork that were as instantly recognisable as the music itself. Long before the advent of MTV, Bowie was making short films to promote his music, and he would go on to push the boundaries of the form with iconic videos such as Ashes to Ashes. Indeed, Bowie's final gift to the world came in filmic form – the video for his last single \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fav\u002Fentertainment-arts-35278855\"\u003ELazarus\u003C\u002Fa\u003E was released on 7 January 2016, just three days before his 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\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail\"\u003EThe cult 90s film that blazed a trail\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear\"\u003EStories that reflect our oldest fear\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210106-the-photos-that-made-david-bowie-an-icon\"\u003EThe photos that made Bowie an icon\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIt's unsurprising that this most mercurial of artists, with his visual sensibility and \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20170907-david-bowie-fashion-and-the-art-of-reinvention\"\u003Emany alter-egos\u003C\u002Fa\u003E, would be drawn to film. Yet, while Bowie's legendary status in music is beyond question, quantifying his contribution to cinema as an actor is more complicated. In the three decades between The Man Who Fell to Earth (1976) and The Prestige (2006), Bowie appeared in dozens of films but – despite that span of credits – only a few of these roles came close to making the most of his talent. When we leave aside the many cameos – of which the uncontested \u003Cem\u003Ecrème de le crème\u003C\u002Fem\u003E is Bowie solemnly adjudicating a runway walk-off in Zoolander – and the forgettable flops – the less said about Just a Gigolo, the better – we are left with only a handful of performances. Yet those acting roles that did manage to effectively exploit Bowie's gifts are easily enough to secure his status as a cinema icon. When matched with an inventive director, Bowie could be an unforgettable screen presence.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfdqrb"],"imageAlignment":"centre","imageAltText":"Labyrinth","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFrom the start of his career, Bowie was an artist who often turned to cinema for inspiration. Whether referencing Stanley Kubrick on Space Oddity, posing like Greta Garbo on the cover of Hunky Dory or channelling German expressionism as the Thin White Duke, Bowie was constantly drawing on film iconography in his music. Filmmakers quickly identified his potential as a subject, with documentaries such as DA Pennebaker's Ziggy Stardust and the Spiders from Mars (1979) and Alan Yentob's Cracked Actor (1975) capturing spectacular live performances and intimate behind-the-scenes footage.\u003C\u002Fp\u003E\n\u003Cp\u003ECracked Actor depicts Bowie at the height of his 1970s fame, rattled by cocaine, and driven to the brink of sanity by the pressures of stardom. It was this image of a strung-out Bowie driving around LA in the back of a limousine that inspired Nicolas Roeg to cast the musician in his first major film role. The Man Who Fell to Earth is the story of Thomas Newton, an alien on a rescue mission from his home planet who crash-lands on Earth and ends up stranded in the New Mexico desert. Disguised as a human, Newton attempts to raise money for a new spaceship by selling alien technologies but soon becomes corrupted by human vices.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Without Bowie, The Man Who Fell to Earth would be an intriguing curio; with him, it becomes a classic","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBy 1975, Roeg had already established his reputation with arthouse landmarks such as Walkabout and Don't Look Now. The Man Who Fell to Earth brought together one of the most interesting directors of the 1970s with the decade's defining popstar, and the result is a trippy triumph. Like Bowie's music, the film mashes up genres – sci-fi, political thriller, romance – and channels the counter-cultural mood of the time to create something bracingly new. With a fragmented, often confusing narrative, it's a genuinely risky film that feels as if it could crash land at any moment, but which is held together by a magnetic central performance. Without Bowie, The Man Who Fell to Earth would be an intriguing curio; with him, it becomes a classic.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfdqgr"],"imageAlignment":"centre","imageAltText":"The Prestige","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPart of Bowie's power lies in his astonishing physical presence. Pale and emaciated, with streaks of red hair falling into mismatched eyes, Bowie requires little make-up to convince as an alien in disguise. A series of retro costumes – wide fedoras, loose high-waisted trousers, tight white T-shirts – draw out his androgynous beauty and emphasise Newton's genderless nature. That blurring of gender boundaries is reflected too in Bowie's frail physicality and delicate movements. Bowie's Newton moves initially with the faltering steps of someone learning to walk again. When he collapses in a hotel lift, chambermaid and future lover Cindy Lou (Candy Clarke) scoops him into her arms, and carries him to bed as if he weighs nothing at all.\u003C\u002Fp\u003E\n\u003Cp\u003EBut there is more to this performance than a dazzling surface. In the throes of his addiction, Bowie was in a fragile mental state during the shoot, and his sense of dissociation is perhaps part of what makes him so frighteningly credible as a stranded alien. At times, as Bowie oscillates between sweet helplessness and terrifying volatility, it feels more like a possession than a performance. Scenes in which Newton succumbs to addiction, sitting before a wall of wailing televisions or stirring his drinks with a gun, crackle with manic energy. The final image of Newton slumped in his seat, just another drunk with nowhere to go, is devastating.\u003C\u002Fp\u003E\n\u003Cp\u003EBy casting Bowie, Roeg encourages us to blur the boundaries between character and performer, and in doing so draws out new layers of meaning. Newton, adrift in cowboy country with a London accent and British papers, is an alien in several senses. It's possible to read the film as a straight sci-fi, but also as a metaphor for the outsider status of the immigrant, for the loneliness of genius or for the isolation of celebrity. Much of Bowie's art feels like it comes from another planet but, as his tender performance demonstrates, to be exceptional can be alienating.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfdphh"],"imageAlignment":"centre","imageAltText":"Basquiat","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn The Man Who Fell to Earth, Roeg set the template that would define Bowie's film career. All of his most successful screen performances share certain hallmarks – an unusually imaginative director, a role as an exceptional outsider, a blurring between star persona and character. Music critics tend to praise Bowie's chameleonic quality, his ability to switch from extra-terrestrial rock to blue-eyed soul to polished pop in the blink of an eye. Yet as an actor, Bowie was no chameleon – instead of disappearing into his roles, he floated above them, always a level removed. This distance meant that every part Bowie played was inevitably in conversation with his many alter egos, and with the nature of fame itself.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EReality and performance\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EBowie's most effective performances tap into that meta-commentary. An example of this is his brief but memorable appearance as Andy Warhol in Julian Schnabel's biopic Basquiat (1996). Based on Schnabel's friendship with the artist Jean-Michel Basquiat, the film is full of characters modelled on real people from the 1980s New York art scene. In real life, Warhol was a hero of Bowie's – there's a song dedicated to him on Hunky Dory – and the two had crossed paths at parties. By casting Bowie, Schnabel has one legendary artist disguise themselves as another, and in doing so taps into the same ideas about fame that defined Warhol's art. Bowie delivers a delightfully ironic turn, peering out from beneath a silver shock wig (taken from Warhol's real-life wig collection), his lip curled in constant amusement. In a film that sometimes takes itself too seriously, Bowie delivers a dose of wry camp, playfully exposing the shallow nature of artworld celebrity and once again blurring the boundaries between reality and performance.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"In The Hunger, Bowie's creature of the night is exquisitely stylish and devastatingly sexy","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOn a similar wavelength, but even better, is Bowie's supporting role as the inventor Nikola Tesla in Christopher Nolan's tricksy period thriller The Prestige (2006)\u003Cem\u003E. \u003C\u002Fem\u003ETesla was another famous maverick, a Serbian-born pioneer of electronic engineering who died in 1943 after a troubled but influential life. In Bowie's interpretation, Tesla becomes a kind of real-life twin to Thomas Newton, a displaced genius who teases the boundary between magic and science – and is ultimately destroyed by the greed of those who surround him. Like Newton, Bowie's Tesla arrives with a bang, appearing apparently from nowhere in a cloud of sparks. Bowie's occasionally extravagant performance – all lustrous moustache and lilting, indeterminate accent – is tempered by a core of vulnerability that grounds this archetypal mad scientist in poignant reality.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfdr7t"],"imageAlignment":"centre","imageAltText":"The Hunger","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe same otherworldly quality that makes Bowie's takes on Warhol and Tesla so successful, is also used to beguiling effect in two 1980s cult classics. Jim Henson's fantasy \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20160621-why-labyrinth-is-so-memorable\"\u003ELabyrinth\u003C\u002Fa\u003E (1986) was a commercial disappointment on first release but has since become a cult favourite. Bowie's justifiably much-loved performance as the Goblin King is key to the film's appeal. Resplendent in bejewelled blouses, outrageously tight trousers and a shocking wig that tops even Warhol's, Bowie relishes the opportunity to play the villain. On his own terms, Henson was himself something of a genius, and like Roeg he delivers a series of memorable images that capitalise on his star's incandescent charisma. Bowie's Jareth fizzes with mischievous magic, as he materialises like a shimmering apparition in an open window or strides upside-down across rotating Escher-indebted stairways.\u003C\u002Fp\u003E\n\u003Cp\u003ETony Scott's uneven The Hunger (1983) is less satisfying overall but does offer the tantalising prospect of Bowie as one half of a stylish vampire couple alongside Catherine Deneuve. The Hunger came out immediately after the release of Bowie's phenomenally successful Let’s Dance album, and the role offers a goth twist on his slickly handsome 80s pop persona. Bowie's creature of the night is exquisitely stylish and devastatingly sexy, prowling blue-lit Manhattan nightclubs in sunglasses searching for his next fix. The film is worth watching for Bowie's elegantly unhinged performance and for its moments of delirious excess, such as an exhilarating opening sequence in which Bowie and Deneuve procure a couple of hipsters for dinner to an unsettling Bauhaus soundtrack.\u003C\u002Fp\u003E\n\u003Cp\u003EIn the same year that Bowie went full goth in The Hunger, he also delivered one of his most substantial and grounded performances. In Nagisa Ōshima's Merry Christmas, Mr Lawrence (1983), Bowie stars as Major Celliers, a soldier serving in Java during World War Two, who is captured and sent to a brutal Japanese prison camp. In confinement, Celliers becomes a leadership figure for his fellow prisoners and an object of obsession for the camp's commander Captain Yonoi (Ryuichi Sakamoto).\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfdpyh"],"imageAlignment":"centre","imageAltText":"Merry Christmas, Mr Lawrence","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn many ways, this is Bowie's straightest performance. Tanned and movie-star handsome, aside from his endearingly crooked British teeth, Bowie's Celliers initially embodies dignified masculine power. Yet, as is always the case with his best performances, Bowie brings to the surface a subversive subtext, drawing out the queerness that lies beneath many war-movie tropes. As the film progresses, Celliers infuriates his captors with increasingly transgressive acts of rebellion, showing his contempt for authority through flamboyant performances, singing songs, collecting flowers and even by kissing Yonoi. By casting Bowie alongside fellow musician Sakamoto (a legendary popstar in his own right), Ōshima presents us with a face-off between two titans of 20th-Century music. The homoerotic tension between the pair culminates in an ambiguous moment when, having sentenced Celliers to be buried alive, Yanoi visits the condemned man to cut a lock of his hair, like a fan or a lover would. The film's climactic image of Celliers buried neck-deep in the sand, his hair bleached by the blazing sun, is an arresting tableau fit for an album cover.\u003C\u002Fp\u003E\n\u003Cp\u003EIn the aftermath of the star's death, such indelible images have gained new significance. Bowie's death robbed us of future music, but it also took away the possibility of more film roles, of more opportunities for this most unusual of artists to enchant and surprise us at the cinema. Not all of Bowie's roles were worthy of his talent, but those that were have at least left us with some kind of compensation. The Starman may be gone, but some element of his extraordinary charisma will always remain, a glittering after-image burned forever on to the silver screen.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Ca href=\"https:\u002F\u002Fwhatson.bfi.org.uk\u002FOnline\u002Fdefault.asp?BOparam::WScontent::loadArticle::permalink=davidbowie&BOparam::WScontent::loadArticle::context_id=&gclid=CjwKCAiAzrWOBhBjEiwAq85QZzyklusZ_Vc51WtnRZ1RbMrxVu0iJXNAwQuk1XtNPgnZlSgzSOzZThoCJlYQAvD_BwE\"\u003E\u003Cem\u003EBowie: Starman and the Silver Screen\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E is at BFI Southbank, London, until the end of January, with select films available to stream on \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fplayer.bfi.org.uk\u002Fsubscription\u002Fcollection\u002Fdavid-bowie\"\u003E\u003Cem\u003EBFI Player\u003C\u002Fem\u003E\u003C\u002Fa\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\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting-14"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2022-01-06T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The underrated genius of David Bowie's acting","headlineShort":"The underrated genius of Bowie's acting","image":["p0bfds1g"],"imageAlignment":"centre","imageAltText":"The Man Who fell to Earth","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":"6183c2c945ceed0d2f73335b"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"The Man who Fell to Earth","promoImage":["p0bfdrgd"],"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"As we approach the 75th anniversary of Bowie's birth, we explore his film roles. Every part he played was 'in conversation with his many alter egos', argues Rachel Pronger.","summaryShort":"Why the star's screen legacy is as remarkable as his music","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2022-01-06T00:00:17.500397Z","entity":"article","guid":"d0642399-5883-4364-aad3-22f2338dc2d3","id":"culture\u002Farticle\u002F20220105-the-underrated-genius-of-david-bowies-acting","modifiedDateTime":"2022-01-14T17:34:48.104785Z","project":"culture","slug":"20220105-the-underrated-genius-of-david-bowies-acting","cacheLastUpdated":1642294169517},"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet","_id":"61df6b8a45ceed63f11132e1","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fkambole-campbell"],"bodyIntro":"Writers and filmmakers often take doomy views of the web. But new animation Belle, by Japanese director Mamoru Hosoda, shows off its beautiful possibilities, writes Kambole Campbell.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"BodyA\"\u003EWhen we think about how the internet shapes our lives, especially in art, we tend to imagine the worst. From TV shows like Black Mirror and feature documentaries like The Social Dilemma, to novels like The Circle, writers and filmmakers have portrayed the digital realm as one where we indulge self-destructive and narcissistic impulses, and where our privacy and security is breached. However, as the dystopian treatments of the internet mount up, one filmmaker has been on a different mission: to showcase the beauty of online connection. In the eyes of Japanese anime director Mamoru Hosoda, the web is an ever-evolving realm of exciting potential, an attitude embodied in his aesthetic approach to visualising this digital world.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211207-the-matrix-and-the-sci-fi-stories-that-became-a-reality\"\u003EHow The Matrix became a reality\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220106-22-films-to-watch-in-2022\"\u003E22 films to watch in 2022\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200518-the-animation-that-showed-me-the-meaning-of-life\"\u003EThe animation that showed me the meaning of life\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EHosoda's optimism about our interactions with the digital world are most apparent in his latest feature Belle\u003Cem\u003E, \u003C\u002Fem\u003Ewhich is released in the US this week. A remix of Beauty and the Beast for the digital age, it tells the story of Suzu, a teenage girl living in the Japanese countryside with her widowed father, from whom she is partly estranged because of his lingering grief, and his unspoken lack of understanding as to his child's state of mind.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bgstk6"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"BodyA\"\u003EAs it turns out, Suzu is spending her time as a popstar in the parallel world of \"U\", a virtual reality that promises a new beginning and a fresh start, something extremely promising for a teenager uncomfortable in her own skin. As the internet popstar Bell (to be clear, spelt without an \"e\" as in the title, as Suzu's name translates to \"Bell\" in English) she finds immediate viral fame, something that quickly brings her into contact with another famous – or rather, infamous – denizen of U: \"The Beast\", with whom Suzu feels a mysterious kinship.\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EIn some ways, Belle could be seen as riffing on our increasing desire to occupy fully-visualised virtual social spaces – as seen for example, with games like Fortnite and Animal Crossing: New Horizons, acting as areas for concerts or interviews, and allowing people the ability to mingle during lockdown. But it's also much more fundamentally about the whole nature of online communication, and the way it can facilitate both personal transformation and self-reflection.  \u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003E\"I think the fact that there is this other world where we can be another version of ourselves [helps to show] that we are not just what we show to society,\" Hosoda tells BBC Culture. \"Belle and Suzu are so different that they're virtually different people, but they're actually the same person. Sometimes we end up believing that we are only that one side of ourselves, but actually we have many dimensions. And learning that and believing that helps us to be more free.\"\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003E\u003Cstrong\u003EHosoda's fantasies of digital living\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EHosoda's directorial career began around the turn of the millennium, and as his filmography has grown, parenthood and the lives of children have clearly become his pet themes. His previous film, 2018's Mirai, explores a father becoming a stay-at-home parent for the first time. Before that, 2015's Wolf Children and 2012's The Boy and the Beast both see single parents fear over where their children's independence will lead them, as well as just how much influence they hold over the shape of their lives. But alongside this focus on the family, a more specific interest he has repeatedly explored has been the role that the internet plays in the development of modern-day children – it's something he first touched upon in his very first feature film, 2000's Digimon: The Movie and has returned to in 2009's Summer Wars, about a high-school student getting involved in an online world called Oz, and now Belle.\u003C\u002Fp\u003E\n\u003Cp\u003EIndeed this motif of children seeking guidance and refuge in fantastical digital realms is perhaps the most striking element of his work – even in his films that don't explicitly deal with the internet like Mirai, where the young protagonist's family tree is presented as a sort of traversable web space. His films often visually reflect the influence of digital culture by having one foot in and one foot out of reality – for example, while his characters may be designed with a subdued and natural look, they very often act with outsized, cartoonish reactions. Thematically, the mundane typically clashes with the otherworldly as his young or adolescent protagonists navigate their rapidly changing lives by doing something physically impossible – time travel in The Girl Who Leapt Through Time and Mirai, being spirited away to another dimension in The Boy and the Beast, and entering a virtual reality in Summer Wars and Belle.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Belle shows an internet genuinely reborn as a parallel communal space, geared towards the people that use it rather than those who might make money off them","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"BodyA\"\u003EBelle is both an encapsulation of the themes and aesthetic of Hosoda's filmography up to this point and a bold evolution of them. This is especially true of the film's lavish animation production, which mixes traditionally drawn 2D imagery with more 3D computer animation than any of Hosoda's previous work to reflect the film's parallel realms: 2D is used for the real world, and 3D for the digital sphere, with the former's intentional flatness contrasted with the latter's sense of expansiveness, created through broad, sweeping movements of the virtual camera. Suzu's life literally appears narrow, until her life as Bell opens it up to new dimensions, the world seeming impossibly large during her performances. This divide further emphasises Hosoda's vision of the internet as a social space that enables reinvention: when Suzu becomes Bell, she becomes a figure that is physically impossible in the 2D space of her world,.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bgsy9x"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EThe generally bright, optimistic view that Hosoda's films take towards the virtual space immediately makes him stand apart from his contemporaries. Many landmark anime films concerning the internet have viewed it as pathological, whether in encouraging possessive parasocial relationships and fake identities, or enabling new ways for ruling bodies to be invasive. One such film is Satoshi Kon's 1997 anime Perfect Blue\u003Cem\u003E, \u003C\u002Fem\u003Ewhere the newfound intimacy that the internet provides with strangers is seen as disturbing and destabilising; its pop-singer-turned-actress protagonist Mima is stalked by obsessive fans and discovers a website set up by someone pretending to be her. As Mima loses grip on reality Kon's use of subjective perspective, immersing us in the protagonist's point of view, leads us to mistrust the very images that we witness, in a manner that evoked the internet's potential as vehicle for fabrication, where our online personas become malleable constructs, well before social media was even born. There's also a claustrophobia to Perfect Blue's portrayal of digital living, which contrasts with Hosoda's visualisation of it as offering boundless and borderless social space, and perhaps even liberation from the body itself.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EBringing the virtual connectivity of the internet to cinematic life isn't something reserved for animation, of course. You could call it the basis of one of the most popular, influential sci-fi blockbusters in modern memory: Lana and Lilly Wachowski's \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211207-the-matrix-and-the-sci-fi-stories-that-became-a-reality\"\u003EThe Matrix\u003C\u002Fa\u003E – which, in 1999, reflected the new online world and folded together a wealth of digital culture with theories about simulation as well as video games, kung-fu movies, wuxia, and anime. Those interests are all channelled into a futuristic digital universe that looks like ours, but where computer functions are essentially the laws of nature – a system of control that the film's rebel protagonists learn to shape. The Wachowskis evoked club culture and fetishwear in the film's iconic costume design, an element which affirmed the idea of this virtual space as a place for reinvention. The recent sequel, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211215-film-review-the-matrix-resurrections\"\u003EThe Matrix Resurrections\u003C\u002Fa\u003E continued this sartorial theme in a slightly different way, through the character of Morpheus (now played by Yahya Abdul-Mateen II) \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002FHello_Tailor\u002Fstatus\u002F1478537316826288131?s=20%2520\u002F\u002F\"\u003Eand his embrace of colourful fashions.\u003C\u002Fa\u003E The virtual space can be oppressive, both films suggest, but once mastered, it can also be a place for exhilarating self-realisation.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003E\u003Cstrong\u003EMore cynical cinematic takes on the internet\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EWhen it comes to films visualising the internet, 2018 blockbuster \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20180320-film-review-ready-player-one\"\u003EReady Player One\u003C\u002Fa\u003E also leaps to mind. Based on a 2011 novel by Ernest Cline, it is set in 2045, when humans live much of their lives in a virtual world, OASIS, that its director Steven Spielberg evidently believes is dystopian, even though Cline portrayed it much more uncritically. OASIS's aesthetic comes from being a world built on pop culture ephemera: Spielberg peppers it with cinematic references to films like The Shining and Back to the Future, as well as 3D recreations of beloved \"geek culture\" iconography like the bright red motorcycle from seminal cyberpunk anime Akira – digital constructions which the characters pay for, and flaunt as trophies.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EIndeed, with the exception of The Matrix, filmmakers have tended to portray the internet as something inherently corporate and transactional – whether that's imagining it as the plaything of eccentric wealthy geniuses, as in Ready Player One, or as a place that trades on intellectual property in 2018 kids' animation Ralph Breaks the Internet, which sees video-game characters embark on an adventure traversing the web, visualised as a virtual city completely saturated in brands.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"That's the beautiful thing about the internet. It could have been anyone in the world Mamoru partnered with. But he somehow found me – Eric Wong","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"BodyA\"\u003EHowever Belle takes a more romantic, immersive perspective from the start: launching the audience headfirst into one of Suzu\u002FBell's virtual concerts. As she belts out the original song \"U\" by Japanese collective millennium parade, the scene is awash with eye-popping colour, the protagonist's digital avatar wearing a gown of red roses while she surfs a giant whale that doubles as both stage and sound system; the flowers and sea creatures serve as immediate markers of a gentler, more organic online world than we might expect. From there, the film shows an internet genuinely reborn as a parallel communal space, geared towards the people that use it rather than those who might make money off them. As a 3D virtual social space \"U\" is practically the antithesis to something like Mark Zuckerberg's newly-coined \"Metaverse\", inspiring and original where the latter thus far looks ugly and commercial-focused, littered with advertising and branding. Some would argue there is hardly any aspect of digital communication today which is not heavily corporatised: think of the ways memes and online in-jokes have become co-opted by the social media accounts of large brands, tasked with interacting with each other as if these PR assets were in fact individuals.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bgsv57"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"BodyA\"\u003EIn contrast to this, Belle's utopian vision of what the internet could be feels radical. U is not just incredible to look at, but it's also a free and borderless public space. In conceiving U, Hosoda and conceptual artist Eric Wong – a London-based architect – came up with a vision of it as a spectacular infinite city with skyscrapers crucially broken up by lots of parks, to emphasise its communality as a space. Wong puts it simply: as the film speaks of togetherness, \"the city has to have that language too.\" It had to feel welcoming. \"I remember talking to Eric and we were saying, 'well, if it's really a world made up completely of skyscrapers, no one would really want to live there,'\" adds Hosoda.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EIndeed, the natural and human-built world, and its geometry, were at the forefront of Wong's mind when imagining U. \"Every week we'd always have new references. One of them was Central Park because there were skyscrapers everywhere, but there was a beautiful park down the middle,\" he says, also noting that U's distinctive twilit sky was inspired by the Manhattan solstice, a beautiful biannual New York event when the setting sun aligns with the Manhattan street grid.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003E\u003Cstrong\u003EThe depth of Belle's vision  \u003Cbr \u002F\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EWhat's interesting, too, is that the makeup of Belle's creative team very much supports the internet utopianism of the film, not just because Hosoda discovered Wong online, but because of his generally \"borderless\" approach to sourcing key artists from around the world. Wong reflects that \"that's the beautiful thing about the internet. It could have been anyone in the world [he partnered with]. But he somehow found me.\" Among the team of artists are Tomm Moore and Ross Stewart from Ireland's Cartoon Saloon, best known for Oscar-winning hit Wolfwalkers, who contributed artwork to a moment where Bell steps outside of the main urban cityscape of U. Paired with Bell's floral costumes, the incorporation of the pair's flattened drawing style, in keeping with the 2D used for the film's vision of the real world and full of organic shapes, further emphasises Belle’s conception of the internet as a natural extension of our world, rather than a rival to it.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EMeanwhile that sense of joyous diversity underpinning Belle is also reflected in the character designs in the world of U, the peculiarity and variety of which rival even classic Studio Ghibli films like Spirited Away, with a wild host of weird little online avatars. According to Hosoda, \"[for] most of them, a number of different designers designed them. And then we would pick the best one\". He elaborates that \"the reason that I wanted all the designers to be involved in designing the avatars is to get the diversity that you would have in the world of U.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-10"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Hosoda could be perhaps accused of being naively hopeful, but his thoroughly humanist view of the online world is invigorating in its idealism","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EThe unifying element of this world and the narrative, Bell herself, is designed by Korean animator Jin Kim, who has shaped the look of many a Disney princess, including Frozen's Anna and Elsa, Bell, like the other avatars in U, reflects a (subtle) element of Suzu's real-world self – as does The Beast, whose hulking, battle-worn appearance mirrors the real world pain of its human counterpart, something that attracts Suzu's concern. But while Hosoda and Kim pay homage to the artists of Disney through Bell's elegance, Hosoda also has some sly fun at the company's expense – the most apparent barb being reimagining Beauty and the Beast's Gastón as Justin, a cop masquerading as a superhero, backed by a slew of corporate sponsors that he projects behind him at every given opportunity, seemingly in mockery of the superhero authoritarians of Disney subsidiary Marvel Studios. He's representative of the less utopian elements of U, an oppressive entity that looms over the otherwise open and gentle space. In this way Belle's portrayal of U, while bright and hopeful, is also not blind to the potential realities, cruelties and consequences of the internet in effectively making the world smaller, and opening its users up to a new kind of scrutiny. As Bell, Suzu is intensely scrutinised and speculated upon, jeered at and idolised, among other things, while the Beast is subject to a witch hunt, steered by Justin.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bh7g06"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-13"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bh7gz0"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet-14"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003ENor does Hosoda pretend that the internet world of U is a wholesale replacement for the real, physical one. Suzu's performances as Bell take inspiration from her offline existence – and conversely she has to put the learnings from her online persona into action in the real world in order to fully grow as a person, and to help The Beast when no one else will, as she channels the lessons of her departed mother. It's in pondering those real-world benefits of Suzu's online life that U and Belle as a whole become almost transcendently beautiful. Hosoda's vision of the internet is beautiful not just because of the attention to detail in its phenomenal production design but also because of the way that it foregrounds human imagination and human interaction, which is (mostly) resistant to the interference of corporate interest.\u003Cbr \u002F\u003E\u003Cbr \u002F\u003EHosoda could be perhaps accused of being naively hopeful, but his thoroughly humanist view of a resource that is continually and cynically commodified is invigorating in its idealism. He dares to suggest that the newfound intimacy that the internet brings to society can actually amplify people's charitable spirit more than it encourages vitriol. It's an idea that can be spotted in the very light source of U – its peculiar, gigantic crescent moon, which both Hosoda and Wong highlight as their favourite visual element of the world because, as Wong says, \"it's the light that represents everyone, it belongs to everyone\". It's a stirring vision of our digital future – one that we can only hope turns out to be half as compassionate, inclusive and beautiful as Belle imagines.\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003E\u003Cem\u003EBelle is released in the US on 14 January and the UK on 4 February\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\u002F20220112-the-man-changing-how-we-see-the-internet-15"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2022-01-13T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The film changing how we see the internet","headlineShort":"The most beautiful animation ever made?","image":["p0bgswl7"],"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":"6183c2c945ceed0d2f73335b"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"Writers and filmmakers often take doomy views of the web. But new animation Belle, by Japanese director Mamoru Hosoda, shows off its beautiful possibilities, writes Kambole Campbell.","summaryShort":"Why Belle will make you see today's online culture differently","tag":null,"textToSpeech":false,"creationDateTime":"2022-01-13T00:00:02.508587Z","entity":"article","guid":"f36e6091-d84b-465d-8088-9e27e017fbab","id":"culture\u002Farticle\u002F20220112-the-man-changing-how-we-see-the-internet","modifiedDateTime":"2022-01-14T10:38:59.700165Z","project":"culture","slug":"20220112-the-man-changing-how-we-see-the-internet","cacheLastUpdated":1642294169516},"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain","_id":"61dcc89145ceed11b612c591","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fhanna-flint"],"bodyIntro":"Shakespeare's murderous queen has long been demonised as a wicked seductress. Yet Frances McDormand is the latest actor to show she deserves far more understanding, writes Hanna Flint.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESeductress. Manipulator. Madwoman. The Fourth Witch. These are just a few of the more hostile descriptors that Lady Macbeth has been saddled with ever since The Tragedie of Macbeth (the full title of the Scottish play) was first performed 416 years ago. As a schoolgirl studying William Shakespeare's timeless tale of ambition, morality, betrayal and murder, my first impression was that she was all of the above: a straightforward, out-and-out villain. A wife who, after learning of a witches' prophecy declaring her Scottish general husband would become king, persuades him to commit regicide, take power and subsequently ignites a bloody civil war?  Lady M is certainly no angel.\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\u002F20220106-22-films-to-watch-in-2022\"\u003E22 films to watch in 2022\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210421-the-shakespeare-tragedy-that-truly-speaks-to-us-now\"\u003EThe Shakespeare tragedy that speaks to now\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-netflixs-you-and-how-nice-guys-became-the-real-villains\"\u003EWhy 'nice guys' became the villains\u003C\u002Fa\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EIn act five, scene seven of the play, Macbeth's rival for the throne Malcolm declares her a \"fiend-like queen,\" and that label has stuck. The fact that men played female roles in Shakespeare's day likely only compounded this unflattering caricature, but even after women were welcomed on stage, a narrow portrayal of the character has continued. \"My experience of Lady Macbeth in the theatre, to begin with, was quite difficult,\" Erica Whyman, Deputy Artistic Director of The Royal Shakespeare Company tells BBC Culture. \"She's cast in the popular imagination as the instrument of evil and that then latches onto stereotypes of women through the ages. It's a caricature of a woman who seeks power through her husband; when you combine that with the idea that she goes mad, you have this toxic combination.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bgd3hs"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt's this two-dimensional representation that Oscar-nominated actor Ruth Negga is hoping to combat when she takes on the role opposite Daniel Craig in Sam Gold's Broadway production this spring. \"I'm very interested in discussing what I think is the long-standing demonisation [of Lady Macbeth],\" she tells BBC Culture. \"[The play is] a complex excavation of this relationship and desire, fate and power but it feels like we've just plastered it with misogyny. The problem isn't the play, it's the interpretation.\"\u003C\u002Fp\u003E\n\u003Cp\u003EJoel Coen is the most recent filmmaker to have a go at bringing the play to the screen. Released on Apple TV+ on Friday, The Tragedy of Macbeth is a faithful adaptation which keeps the original Shakespearean dialogue, though presents the story in black-and-white using a stylised German expressionist-brutalist aesthetic, with Denzel Washington and Frances McDormand playing the tragic couple. As Lady M, McDormand commands the screen with matriarchal authority. There's nothing hysterical or overtly 'evil' about her performance; rather she plays the character as someone who is determined that their murderous actions are for the good of her hard-working husband, until the guilt becomes too much to bear.\u003C\u002Fp\u003E\n\u003Cp\u003EContemporary feminist readings and criticism have similarly reappraised Lady Macbeth as a far more sympathetic figure than the one that has been traditionally depicted. She might not have been historically perceived as a tragic hero like her husband – and Shakespeare didn't give her as much stage time either – but the play's title speaks to more than just his devastating fall from grace. It speaks to hers too. With this in mind, films and theatre productions have increasingly offered a deeper engagement with her, and with Shakespeare's progressive ideas about gender, motherhood and the patriarchy that are as relevant today as they were back then. \"He would not have recognised what we mean by women's rights or what we mean by equality but what he did was treat every human being in his plays as though they had something to say that we should listen to,\" says Whyman.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe range of Lady Macbeths\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EOne of the earliest portrayals of Lady Macbeth that broke the mould was delivered by Welsh actor Sarah Siddons in 1785 at London's Drury Lane Theatre. In an essay she wrote entitled Remarks on the Character of Lady Macbeth, Siddons viewed her as \"fair, feminine, nay, perhaps, even fragile,\" which is why in her reading, Macbeth was susceptible to his wife's suggestion. \"Such a combination only, respectable in energy and strength of mind, and captivating in feminine loveliness, could have composed a charm of such potency as to fascinate the mind of a hero so dauntless, a character so amiable, so honourable as Macbeth,\" she writes. Her depiction was \"tragedy personified,\" as critic William Hazlitt put it, and starkly contrasted with fellow 18th-Century star Hannah Pritchard's earlier turn which clung to the \"savage, demoniac\" tradition. Siddons' influence would be felt a century later, in 1888, when stage star Ellen Terry, inspired by an imperative in Siddons' essay to \"not hold by the 'fiend' reading of the character,\" took to the stage at London's Lyceum Theatre. As described by Michael Holroyd in his biography, A Strange Eventful History: The Dramatic Lives of Ellen Terry, Henry Irving and their Remarkable Families, Terry wrote on the flyleaves of her copy of the play that Lady Macbeth was \"full of womanliness\" and \"capable of affection,\" adding: \"she loves her husband… and is half the time afraid whilst urging Macbeth not to be afraid as she loves a man.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"She's got a conscience and is aware of the emotional and moral cost but thinks it's worth putting that to one side. That's always a terrible idea – Erica Whyman","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHe loves her right back; Shakespeare is always intentional with the words he uses, so when Macbeth calls her his \"dearest partner of greatness\", it indicates their marriage is bonded by both love, ambition and equality – he calls her his \"partner\", after all. In Akira Kurosawa’s 1957 film Throne of Blood, which transposes the story of Macbeth to 16th-Century Japan, Lady Asaji's (Isuzu Yamada) love for her husband Lord Washizu (Toshiro Mifune) manifests as paranoia. She argues that news of the witches' prophecy would get back to their Great Lord which would paint them as a potential threat to the throne. \"This is a wicked world,\" she says calmly. \"To save yourself you often first must kill.\"\u003C\u002Fp\u003E\n\u003Cp\u003ECoen's The Tragedy of Macbeth also shows a more affectionate relationship between its lead pair. Both in their sixties, the actors are older than your typical Macbeths, but that helps emphasise that the couple's lasting union is one built on years of trust and mutual support. In Lady Macbeth's opening scene, McDormand delivers the line, \"Yet do I fear thy nature; It is too full o' the milk of human kindness,\" with the casualness of a wife who knows her husband better than he knows himself – but her love is most ardent. A warm smile spreads across her sleeping face as she senses the morning arrival of her husband. When Macbeth then whispers \"my dearest love\", the words are tenderly caressing and the two lovingly embrace. Her expression is a far-cry from the grimace she wore the night before when commanding \"spirits\" to change her very nature as the couple plot to murder the doomed King Duncan. \"Come, you spirits that tend on mortal thoughts,\" she utters, looking to the sky and briefly to the bed upon which she sits. \"Unsex me here and fill me from the crown to the toe top-full of direst cruelty. Make thick my blood; stop up the access and passage to remorse That no compunctious visitings of nature shake my fell purpose.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bgd3zf"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EJudi Dench performs this powerful act one speech far more dynamically in the filmed 1979 version of Trevor Nunn's legendary Royal Shakespeare Company production, in which she starred opposite Ian McKellen. Dropping to her knees with her hand outstretched, she begs for the constraints of her gender to be removed then suddenly jumps up with a squeak as though the spirits had answered her call. Returning to the floor, she completes her whispering invocation in climactic fashion: \"That my keen knife see not the wound it makes, nor heaven peep through the blanket of the dark to cry 'Hold. Hold!'\"\u003C\u002Fp\u003E\n\u003Cp\u003EThough painstakingly delivered, Dench's version reinforces the sorceress-like stereotype of Lady Macbeth, as though she has conjured these spirits to help do her work. By contrast, McDormand's resolute poise and level intonation avoids making the supernatural metaphor appear so literal and refutes any interpretation she could be the Fourth Witch using dark magic to manipulate her husband.\u003C\u002Fp\u003E\n\u003Cp\u003EPerformed in this manner, the speech simply reinforces Lady Macbeth's commitment to Macbeth's desire to rule. It also lays bare the gender politics within the play's society. Femininity is seen as a weakness, masculinity is associated with cold ambition, and Lady Macbeth recognises too much of the former in both herself and her husband. \"'Unsex me here,' is this idea that her sex is not useful to her at this moment,\" says Whyman. \"'Stop up the passage to remorse' is a peculiarly evocative image for a woman; to use this idea of not being an open vessel and instead be strong, closed and steely. She's got a conscience and is aware of the emotional and moral cost but thinks it's worth putting that to one side. That's always a terrible idea.'\"\u003C\u002Fp\u003E\n\u003Cp\u003EThe notion that if femininity is removed from this world, bad things happen, is something that Whyman identifies as a recurring theme in the English playwright's work. \"The feminine to Shakespeare means an understanding of compassion, and understanding that we need to live in a community and family, rather than each individual's ambition leading us towards the definition of success,\" she says. \"He's constantly guarding against or warning us against eliminating the feminine – if Macbeth was allowed to be feminine, he wouldn't have killed.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EWhat are Lady Macbeth's motives?\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAnother reading of Lady Macbeth's motivations is that of a childless woman seeking glorious purpose: if she cannot secure Macbeth's legacy with an heir, she can through the throne. The primary role for a woman was bearing children, and the child mortality rate in Shakespeare's time was around one in three, so it's unsurprising he heavily implied the couple lost a child. \"I have given suck and know how tender 'tis to love the babe that milks me,\" says Lady Macbeth in act one scene seven. When that death occurred is unclear, but filmmaker Justin Kurzel made the event literal in the opening of his 2015 adaptation, starring Michael Fassbender and Marion Cotillard, with a scene where the anguished Macbeths attend the funeral of their toddler. The fog of grief clouds their battlement and their judgement, something Kurosawa also suggested in Throne of Blood by having Lady Asiji give birth to a stillborn child which influences Wasizu's decision to assassinate both his best friend Miki and his son who \"one day shall rule Spider's Web Castle\".\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Macbeth’s in his prime, is at the top of his game, whereas Lady Macbeth is perceived as past hers. 400 years later, there's still a bit of that – we start to find women invisible – Erica Whyman","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut in Kurzel's film, he emphasises the theme of a mother's loss, in particular, to the point of turning Lady Macbeth's climactic sleepwalking scene in act five into a heart-breaking church confessional in which she speaks to a vision of her dead son. More overstated direction could have led to this moment merely affirming the perception of Lady Macbeth as a mad woman but instead Cotillard's delivery of her lines is restrained, showing that subconsciously or not, the passage to remorse has flooded open. She keenly feels the guilt for her wicked deeds but the ghostly presence of her child in this scene suggests she is also pained by her earlier declaration that she would have killed him to achieve their goal: \"Have pluckd my nipple from his boneless gums and dashd the brains out, had I so sworn as you have done to this.\"\u003C\u002Fp\u003E\n\u003Cp\u003EBoth in Coen's film and the Royal Shakespeare Company's 2018 production, starring Christopher Eccleston and Niamh Cusack as the Macbeths, their loss appears less recent and Lady Macbeth is far past the point where she could conceive – which makes her appear more disposable within the world of the play as Macbeth begins to distance himself from his wife. \"This brilliant, intelligent, quick-thinking, courageous woman is confined to a ceremonial role that comes through very strongly when it's an older couple,\" says Whyman. \"Macbeth's in his prime, is at the top of his game, [whereas Lady Macbeth is perceived as past hers]. 400 years later, there's still a bit of that – we start to find women invisible. We don't notice their sexual charms so much and don't see them as sexual beings.\"\u003C\u002Fp\u003E\n\u003Cp\u003EBy contrast, younger casting often goes hand in hand with an amping up of the passionate sexuality and desire in the Macbeths' relationship – but done right, that doesn't mean Lady Macbeth has to occupy the wicked seductress stereotype. In Kurzel's film, the Macbeths enjoy a sensual sex scene in which Lady Macbeth persuades her husband to carry out their treacherous plan. Had attention not been paid to her role as a mother, a partner and her mental health as a whole, Cotillard's iteration might have fit that reductive characterisation. Whyman points to Saoirse Ronan's performance in the recent production at London's Almeida theatre as another fine example of a younger take on Lady Macbeth: \"It was full of life and sexuality. I found it very moving because theirs was a love affair that was so damaged by violence. There's one decision, whatever the chain of events, that destroys that forever.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bgd3nk"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThat fateful choice, in Lady Macbeth's case, may be best understood as that of a woman navigating a strongly patriarchal world. If women had ambitions in early modern England, they mostly had to accomplish them through men, and there's a strong sense that Lady Macbeth missed an opportunity to achieve greatness both because of her sex and her husband – Macbeth might have status on the battlefield but has less so in court. Her questioning of his manly courage (\"Art thou afeard?\") cannot simply be viewed as emasculation but an indication that she could have married a man with more political power. \"There is a really interesting theme that there's a different tragedy for Lady Macbeth when she's [played] older – she could have easily been queen,\" Whyman says. \"[Shakespare is] consistently curious about what it is to be a female leader and he keeps putting these guys up with deep flaws, and then suggesting there's a woman close to them who could have done it better. Of course, he was also living through a time where the idea of a queen was very potent.\" Whyman points to Hermione in The Winter's Tale as another of Shakespeare's women who suffers at the hands of a weak-minded husband. The virtuous Queen of Sicily is falsely accused of infidelity by King Leontes and is forced to stand trial: \"Queen Hermione is treated appallingly [but] she would have led the country brilliantly. \u003C\u002Fp\u003E\n\u003Cp\u003EKing James I might have been the British sovereign when Macbeth was published but his predecessor, Elizabeth I, was an obvious influence on Shakespeare. Upon her ascension to the throne, the monarch challenged gender roles; she refused to submit to marriage – arguing she was \"already bound unto a husband, which is the kingdom of England\" – while clinging to her feminine identity in her aesthetic and various speeches, describing her subjects as her \"children\" for example. But she also displayed the royal traits (considered masculine because of the traditionally male hierarchy) of active agency and decision making, and was referred to using royal male descriptors, like \"princely\" and \"Prince of Light\" , as well as being classified as \"king\" in Parliamentary statute for political purposes. However, where Elizabeth I embraced political androgyny and reigned for 45 years, Lady Macbeth unsexes herself and loses her way. \"She thinks the only way to get success is to follow a set of rules that are patriarchal,\" says Whyman. \"She's not a kind of power-hungry, man impersonator – she's wholly in her skin, but she does think the only way to have agency in the world is to do this terrible deed and she's quite wrong about that. If she held onto her morals, so her femininity in that sense, it wouldn’t have happened.\"\u003C\u002Fp\u003E\n\u003Cp\u003EShakespeare was miles ahead when it came to female representation and Lady Macbeth is a character that has too frequently been painted in a two-dimensional light. Had she been afforded more scenes in the play, her motivations might not have appeared so ambiguous to narrow-minded viewers. As it is, Lady M exits the play after her sleepwalking scene and in act five scene seven is reported as dead, evidently by suicide if Malcolm's comment that she \"by self and violent hands took off her life\"  is to be believed. But Coen complicates things by adding a sequence involving Lady Macbeth and nobleman Ross (Alex Haskell) that suggests even more foul play might be involved. Did she throw herself down the stairs – either because the guilt was too much or as an act of atonement – or was she pushed by Ross as revenge for her husband's order to murder his cousin Lady MacDuff? That's up to the viewer to decide. What is clear, is that Macbeth cares for his wife until the end and Coen presents this by having Washington's tragic hero looking down upon her laying at the bottom of the fateful staircase, staggering slightly as the pain washes over him. The one constant in this adaptation is their love for one-another.\u003C\u002Fp\u003E\n\u003Cp\u003EMcDormand joins a welcome list of women bringing enough depth and layers to this formidable character to combat 400 years of gross misunderstandings that say more about those interpreters than the multifaceted literary figure Shakespeare created. Lady Macbeth is a timeless, tragic heroine who should be cherished not scorned. \"It's unhelpful to portray her as wicked or to suggest that because she hasn't got a child she's, in some ways, hollow and barren and inevitably evil,\" says Whyman. \"She’s not a villain; she’s complex, she's curious – we should admire her.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EThe Tragedy of Macbeth is available from Friday internationally on Apple TV+ \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\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain-10"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2022-01-11T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Why Lady Macbeth is literature's most misunderstood villain","headlineShort":"Literature's most misunderstood villain","image":["p0bgd475"],"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":"6183c2c945ceed0d2f73335b"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p0bgd3nk"],"relatedStories":null,"relatedTag":null,"summaryLong":"Shakespeare's murderous queen has long been demonised as a wicked seductress. Yet Frances McDormand is the latest actor to show she deserves far more understanding, writes Hanna Flint.","summaryShort":"Why we've got Lady Macbeth all wrong","tag":["tag\u002Ftheatre"],"textToSpeech":false,"creationDateTime":"2022-01-11T00:00:09.218853Z","entity":"article","guid":"4ad2057f-0cbd-44aa-9acf-0a1c53a96b54","id":"culture\u002Farticle\u002F20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain","modifiedDateTime":"2022-01-11T07:11:40.720571Z","project":"culture","slug":"20220110-why-lady-macbeth-is-literatures-most-misunderstood-villain","cacheLastUpdated":1642294169516},"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made","_id":"61db7e4b45ceed444e47d203","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"While Plan 9 from Outer Space had little regard for continuity or cinematic convention, the film wasn't some cynical hackjob, but a truly eccentric labour of love, writes Nicholas Barber.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn 1978, a book called The Fifty Worst Films of All Time was published. It celebrated such crimes against cinema as Valley of the Dolls and Robot Monster (also The Omen, which seems a bit harsh), but its authors, Harry Medved and Randy Dreyfuss, knew that there was plenty more dreck where that came from. At the back of the book, they included a suggestions page that readers were invited to fill in and post to them. One name was scrawled on nearly 400 of these ballots: Plan 9 from Outer Space.\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\u002F20210802-why-x-rated-masterpiece-the-devils-is-still-being-censored\"\u003EThe X-rated 70s film that still shocks\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210406-jennifers-body-the-real-meaning-of-a-sexy-teen-flick\"\u003EHow a 'teen flick' was misunderstood\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210212-silent-running-the-sci-fi-that-predicted-modern-crises\"\u003EThe sci-fi that predicted modern crises\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWritten, directed and produced by Edward D Wood Jr, better known as Ed Wood, the film is a cheap science-fiction\u002Fhorror hybrid about aliens who zoom across the US in flying saucers, reviving the corpses in a small-town graveyard. It was barely seen in cinemas after its premiere in Los Angeles in 1957, but once it began being shown on late-night television in 1961, insomniac viewers noticed that this was no ordinary B-movie – or indeed C-, D-, or E-movie. The authors investigated, and agreed. When Medved and his brother published a follow-up in 1980, The Golden Turkey Awards, Plan 9 went straight to number one. It was, they declared, The Worst Film of All Time.\u003C\u002Fp\u003E\n\u003Cp\u003EThe accolade stuck. Among cinephiles who enjoyed bad films as much as good ones, Plan 9 from Outer Space became known as the one movie you had to watch, and watch again, and tell your friends (or enemies) to watch, too. Xavier Mendik, co-editor of The Cult Film Reader, says that it \"remains a key template for judging cult film status\". Its fans wrote unofficial sequels and mounted stage adaptations. Jerry and his buddies aim to watch it in an episode of Seinfeld from 1991. And in 1994, Tim Burton's biopic of Ed Wood climaxes with the making of the film. \"This is the one,\" beams Wood (Johnny Depp) at its premiere. \"This is the one they'll remember me for\".\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfzn6p"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhether or not Wood really said any such thing, Plan 9 from Outer Space is definitely the one he's remembered for. More than 60 years since its premiere, and more than 40 since The Golden Turkey Awards brought it back from obscurity, it stands as the epitome of cinematic awfulness. And that's why so many people love it. But what sets it apart from other celluloid catastrophes? \u003C\u002Fp\u003E\n\u003Cp\u003E\"It's difficult to pinpoint the essence of what makes one film bad and dull on the one hand, and another film bad yet entertaining on the other,\" Jamie Sexton, co-editor of The Routledge Companion to Cult Cinema, tells BBC Culture, \"but bad-yet-entertaining films tend to fail to meet filmic conventions in a spectacular manner. It's the gap between ambition and achievement which is hilarious.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The wafer-thin cardboard gravestones and the am-dram theatre backdrops are pathetic enough, but why do the aliens have a nice wooden desk on their spaceship?","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPlan 9 from Outer Space isn't merely a bad film, but a \"What Not to Do\" film-making handbook. Most of it consists of long, stagey, talky scenes, in which the dialogue is either tediously repetitive or unintentionally hilarious. For example: \"One thing is sure: Inspector Clay is dead. Murdered. And somebody's responsible.\" The design budget seems to have amounted to $8.50, all of which was misspent. The wafer-thin cardboard gravestones and the am-dram theatre backdrops are pathetic enough, but why do the aliens have a nice wooden desk on their spaceship? Why is their leader wearing a tabard with a halberd-and-shield symbol on it, like a castle guard in a Robin Hood swashbuckler? And the acting is beyond parody. Take, for instance, Tor Johnson, a Swedish wrestler who was cast as an American police inspector, despite his difficulties with the English language. \"I will get one of flashlight from patrol car,\" he grunts. Mercifully, that's one of his only lines.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfzyfy"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe most jaw-dropping aspect of the film might be Wood's total disregard for continuity. He loves to cut between his own bargain-basement footage and professional stock footage of cities and armies, ignoring the fact that they don't match at all. But even within his own footage, nothing matches. Plan 9 from Outer Space opens with the caption, \"Criswell Predicts\", whereupon The Amazing Criswell, a bow-tied TV psychic, addresses the viewer. \"We are all interested in the future,\" he intones, \"for that is where you and I are going to spend the rest of our lives.\" That sounds reasonable, doesn't it? But then Criswell blows it, following that snappy gambit with this nonsense: \"And remember, my friend, future events such as these will affect you in the future.\" Incredibly, there is worse to come. He concludes his introduction by boasting: \"We are bringing to you the full story of what happened on that fateful day.\" So ... the story isn't set in the future? It's set in the past? What was the point of all that prattling about the future, then?\u003C\u002Fp\u003E\n\u003Cp\u003EOn it goes. A few minutes after Criswell's opening spiel, his narration drones on about \"sundown\", only for an airline pilot to refer to \"this time in the morning\". The same pilot then glimpses a wobbly flying saucer, as cymbal-shaped as you might expect a flying saucer to be. Soon afterwards, he informs his wife: \"It was shaped like a huge cigar.\" The most notorious inconsistency, though, is that in a handful of brief, silent scenes, one of the living dead is played by Bela Lugosi, the horror legend synonymous with Dracula. But in several other scenes, the same character is played by someone far taller and balder – Wood's wife's chiropractor, in fact – with a cloak held over his face in the hope that viewers won't spot the difference. Why? Because Wood had shot some snippets of Lugosi shortly before the actor's death in 1956, and he decided that he could build a whole film around them.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfzn70"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAll of which brings us to the second reason why Plan 9 is so beloved. As mind-boggling as the ludicrous farrago on the screen may be, the events behind-the-scenes are almost as fascinating. Wood himself was a World War Two veteran who was keen on wearing women's clothing, angora sweaters, especially: this provided the plot of his earlier film, Glen or Glenda. When he couldn't persuade any major studios to employ him, he gathered a team of outsiders to work for peanuts. \"His films were guerrilla productions financed outside of the confines of the mainstream Hollywood machine,\" says Mendik, \"which helps endear him to cult film aficionados.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Plan 9 from Outer Space might be a failure, but it's a heroic failure","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOne of his outcast collaborators was Lugosi, the Hungarian-American former star who was, by the 1950s, washed up, depressive, and addicted to methadone and morphine. Even after his death, his involvement helped secure funding for Plan 9 from Outer Space, but the meagre money came from the Southern Baptist Church on the condition that the cast and crew were all baptised. As mythologised in Burton's Ed Wood, the film wasn't some cynical hackjob, but a truly eccentric labour of love. Hence, says Sexton, the \"romantic appeal\" of a writer-director-producer who \"has gained the status of a kind of anti-auteur\". Plan 9 from Outer Space might be a failure, but it's a heroic failure.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ERedeeming features\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAnd here's the third key to its strange charm: it isn't actually a failure in every respect. Don't get me wrong. Plan 9 from Outer Space is a terrible film. A dreadful film. An atrocious film. But it does have some elements that are halfway decent, and it's unlikely that it would have a cult following without them. That title packs a punch, for a start; if, as the legend goes, it was changed from Grave Robbers from Outer Space at the insistence of the film's Baptist backers, then they did Wood a favour. The concept of aliens bringing humans back from the dead is promising, too. And some of the imagery is strong enough – iconic enough, even – to have been put on posters and turned into Halloween costumes. In particular, the wasp-waisted Maila \"Vampira\" Nurmi was the archetypal gothic screen temptress years before Morticia Addams or Elvira ever squeezed into a slinky black dress; and while the hulking Johnson might have been disastrous as a cop, he makes a formidable gurning zombie. These factors are enough to make the film just about watchable.\u003C\u002Fp\u003E\n\u003Cp\u003EThere are some scholars who would go further. Ernest Mathijs, co-writer of the BFI's Guide to 100 Cult Films, contends that Plan 9 from Outer Space \"challenges the regimes of taste we make up\". Rodney F Hill, who writes about Wood in Science Fiction Double Feature: The Science Fiction Film as Cult Text, believes it to be a \"campy, cult masterpiece\" with a \"minimalist avant-garde aesthetic\". He explains to BBC Culture that the film \"pointedly rejects the conventions of logic, verisimilitude, and unity that characterise classical Hollywood cinema, in favour of a looser, more meandering plot structure, a flagrant disregard for the rules of continuity, and arguably a modernist or even Brechtian self-awareness of its own artificiality\".\u003C\u002Fp\u003E\n\u003Cp\u003EI'm not sure I'm convinced, but maybe, just maybe, Plan 9 from Outer Space isn't the worst film of all time, after all. \"Tommy Wiseau's The Room is my own candidate for worst film ever,\" says Mathijs, while Sexton opts for Manos: The Hands of Fate, from 1966. \"Its director,\" he says, \"makes Ed Wood seem competent by comparison.\"\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\u002F20220107-is-this-the-worst-film-ever-made-10"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2022-01-10T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Is this the worst film ever made?","headlineShort":"Is this the worst film ever made?","image":["p0bfzn8p"],"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":"6183c2c945ceed0d2f73335b"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fcult-films"],"summaryLong":"While Plan 9 from Outer Space had little regard for continuity or convention, the film wasn't some cynical hackjob, but a truly eccentric labour of love, writes Nicholas Barber.","summaryShort":"Why Plan 9 from Outer Space was 'a truly eccentric labour of love'","tag":["tag\u002Fcult-films"],"textToSpeech":false,"creationDateTime":"2022-01-10T00:31:00.304566Z","entity":"article","guid":"1d99e664-cabe-41db-a3c1-eaff51605de6","id":"culture\u002Farticle\u002F20220107-is-this-the-worst-film-ever-made","modifiedDateTime":"2022-01-10T00:31:00.304566Z","project":"culture","slug":"20220107-is-this-the-worst-film-ever-made","cacheLastUpdated":1642294169516},"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022","_id":"61d7828f45ceed558808c7d4","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber-and-caryn-james"],"bodyIntro":"From a psychological thriller starring Harry Styles and Florence Pugh, to Robert Pattinson as The Batman, and sequels to Avatar and Knives Out, our critics pick the best releases slated for 2022.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfql14"],"imageAlignment":"right","imageAltText":"Still from A Hero","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-0"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EA Hero\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWith its intentionally ambiguous title, A Hero is a work from one of today's masters, Asghar Farhadi. Two of his most stirring films, A Separation and The Salesman, each won the Oscar for best foreign language film (before the category was renamed), and this latest is shortlisted for this year's award. Once more his characters embody the clash of tradition, morality, politics and a changing society in today's Iran. With Farhadi's usual eloquence and precise, intimate observation, the story follows Rahim, a flawed but hugely sympathetic man imprisoned for debt. When he gets two days' leave and tries to find a way out of that debt, a small act of dishonesty spirals out of control, and the glare of social media enhances his problems. (Caryn James)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased in the US on 7 January\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EBelle\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThis cyberpunk update of Beauty and the Beast received a 14-minute standing ovation when it premiered at last May's Cannes Film Festival – and it's easy to see why. Mamoru Hosoda's dazzling anime is a fairy-tale romance, a high-school soap opera, a superhero action movie and a science-fiction mystery all rolled into one. More than that, the film is a technical marvel in which every frame sparkles with a seemingly infinite array of tiny details. Its heroine is a Japanese schoolgirl who is too shy to sing in real life, but becomes a world-famous pop star in a virtual-reality community. Everyone is desperate to uncover the true identity of her pink-haired, blue-eyed alter ego – and when Belle meets the mysterious, monstrous Beast online, she is desperate to work out who he is, too. (Nicholas Barber)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 14 January in the US and Turkey, 20 Jan in Italy, and 4 February in the UK and Spain\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe Batman\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ERobert Pattinson channels his inner bat in this latest, grammatically precise reboot. It's not Batman, it's \u003Cem\u003EThe\u003C\u002Fem\u003E Batman. And if you thought The Dark Knight was a moody guy, think again. Matt Reeves, who co-wrote and directs, \u003Ca href=\"https:\u002F\u002Fwww.empireonline.com\u002Fmovies\u002Fnews\u002Fthe-batman-robert-pattinson-inspired-by-kurt-cobain-matt-reeves-exclusive\u002F\"\u003Etold Empire\u003C\u002Fa\u003E he sees his version of the crime-fighter as a recluse inspired by Kurt Cobain, right down to a grungy, well-worn Batsuit. \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200123-twilight-was-an-arthouse-movie\"\u003EPattinson\u003C\u002Fa\u003E has the right brooding game for this, portraying a hero who is only in his second year of saving Gotham, still finding his way as he takes on the ruthless Riddler (Paul Dano). Colin Farrell, under layers of prosthetics, is The Penguin. But seemingly there will be some humour amid the darkness and violence, going by the comical moment in one of the trailers, when The Batman deadpans to Catwoman (Zoë Kravitz), in his husky, ultra-serious voice, \"You've got a lot of cats.\" (CJ)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased internationally on 4 March\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EEverything Everywhere All at Once\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe directing team known as Daniels (aka Daniel Kwan and Daniel Scheinert) turned eccentricity into an art form in 2016's Swiss Army Man, their droll, blacker-than-black comedy about a flatulent corpse. Their new film, with a title suggesting controlled chaos, leaps into sci-fi. Michelle Yeoh plays a woman whose simple, relatable attempt to finish her taxes takes her across multiple universes, where she may exist as different versions of herself. The cast includes Jamie Lee Curtis as a villainous accountant who gets in her way. The trailer suggests an emotional family story, a martial arts extravaganza and a deserved showcase for Yeoh, all shaped by Daniels' maniacally off-the-chart style. (CJ)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased in the US and Canada on 25 March\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-1"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfqlc2"],"imageAlignment":"centre","imageAltText":"Still from Everything Everywhere All At Once","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-2"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ETurning Red\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ELike \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20150519-pixars-latest-is-a-joy\"\u003EInside Out\u003C\u002Fa\u003E, Turning Red is a Pixar cartoon about the pains of growing up as a girl, but it is unique in lots of ways: this is Pixar's first film to be directed solely by a woman, the first to be set in Canada, and the first to revolve around a heroine from an Asian family. The heroine in question is Meilin – or Mei – (Rosalie Chiang), a hard-working student who transforms into a huge, shaggy red panda whenever she is stressed. Given that Mei is a 13-year-old Chinese-Canadian, and that the film is set in Toronto in the early-2000s, Turning Red appears to be drawn from the experiences of its writer-director, Domee Shi – except, presumably, for the bit about swelling up into a giant, furry animal. Anyway, Mei looks so sweet and fluffy in the trailer that anyone with small children should place their order for a cuddly red panda toy now. (NB)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased internationally on 11 March\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ENope\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAt the moment, nothing has been revealed about Nope except that 1: It stars Daniel Kaluuya, Keke Palmer and Steven Yeun; 2: The poster depicts some kind of cloudy flying saucer hovering over a valley town; and 3: the same poster describes it as \"A New Terror from the Mind of Academy Award Winner Jordan Peele\". Still, that information is enough for Nope to be a thrilling prospect. Peele's first two films, Get Out and \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20190321-film-review-us\"\u003EUs\u003C\u002Fa\u003E, also had brief titles which didn't give away their stories – and, in fact, the less you knew about the plots in advance, the more riveting they were. But both turned out to be hugely imaginative horror movies that blended hair-raising scares and provocative social commentary. Dare you miss Peele's third big-screen offering? The answer is: Nope. (NB)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 22 July\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe Northman\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ERobert Eggers' small, eerie, psychologically dark stunners have marked him as one of today's most original filmmakers. Anya Taylor-Joy, in her first starring role, was transported to the 16th Century and took on the devil in The Witch (2015), and in \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20191004-film-review-the-lighthouse\"\u003EThe Lighthouse\u003C\u002Fa\u003E, Robert Pattinson and Willem Dafoe tangled with each other as isolated 19th-Century lighthouse keepers. The Northman, another period piece, takes Eggers to 10th-Century Viking Iceland, but expands his scope with an epic tale and a large top-rank cast that includes Dafoe, Taylor-Joy, Nicole Kidman, Björk and Ethan Hawke, with Alexander Skarsgård in the lead as a prince out to avenge his father's death. Eggers' vision promises to be as bold and bizarre as ever, with wide-scale action, intense close-ups and Kidman in yet another of her crazy-long wigs. (CJ)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased internationally on 22 April\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-3"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfqlfg"],"imageAlignment":"right","imageAltText":"Still from The Northman","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-4"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EKillers of the Flower Moon\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe 26th film from Martin Scorsese is his first ever Western – although it does echo some of his previous masterpieces: once again, Scorsese has opted to tell a momentous true story of greed, ambition and brutal crime. Adapted by Eric Roth from the non-fiction book by David Grann, Killers of the Flower Moon examines the murders of several members of the Osage tribe in the 1920s. Robert De Niro plays William Hale, an Oklahoma cattle rancher who covets the oil rights of the Indigenous people, and Leonardo DiCaprio plays Hale's conflicted nephew, who is married to an Osage tribeswoman (Lily Gladstone). Yes, the main attraction here is that we're finally getting to see Scorsese's two favourite leading men together in one of his films. Mind you, Jesse Plemons is sure to match them as Tom White, the FBI agent assigned to the case. (NB)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased in 2022\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe Woman King\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIn a year full of powerful women on screen, the two in this 19th-Century historical drama may be the most intriguing. Viola Davis, who has made fierceness her trademark style, plays the leader of a women's military group in the African kingdom of Dahomey (a country now within present-day Benin) and Thuso Mbedu, the electrifying star of \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210504-the-underground-railroad-review-a-remarkable-american-epic\"\u003EThe Underground Railroad\u003C\u002Fa\u003E, is one of her recruits, as they fight threatening colonisers. Lashana Lynch, briefly 007 in \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210928-five-stars-for-no-time-to-die\"\u003ENo Time to Die\u003C\u002Fa\u003E, and John Boyega also star in the historical epic. Black Panther proved there's a hunger for African heroes, and director Gina Prince-Bythewood is experienced at both character portraits (the classic relationship film \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200420-love-and-basketball-the-sports-film-we-need-to-watch-now\"\u003ELove and Basketball\u003C\u002Fa\u003E) and action (the 2020 superhero movie The Old Guard with Charlize Theron). (CJ)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased in the US and Canada on 16 September\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ESpider-Man: Across the Spider-Verse (Part One)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EOne of the most innovative of all superhero films, Spider-Man: Into The Spider-Verse pioneered its own pop-art visual style, and introduced the film world to the concept of different Spider-Men (Spider-Mans?) in alternate universes – a concept that has since been borrowed by Marvel's live-action \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211215-film-review-five-stars-for-spider-man-no-way-home\"\u003ESpider-Man: No Way Home\u003C\u002Fa\u003E. It's unlikely that the sequel will be quite as inventive, but, as the sub-title suggests, Spider-Man: Across the Spider-Verse (Part One) is the first episode in a two-part story, which makes it a rarity in the world of animated films. Once again masterminded by creators of The Lego Movie Phil Lord and Christopher Miller, the film unites such Spider-People as Miles Morales (Shameik Moore), Peter B Parker (Jake Johnson), Gwen Stacy (Hailee Steinfeld) and the Spider-Man of the year 2099 (Oscar Isaac). (NB)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased internationally on 7 October\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe Unbearable Weight of Massive Talent\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ENicolas Cage gets the role of a life, actually, his lifetime, playing a fictional version of Nicolas Cage in this tongue-in-cheek action comedy. Fictional Nic accepts a $1 million payday to make a personal appearance at a fan's birthday party in Spain, a move that somehow comes to involve Tiffany Haddish as a CIA agent. Cage has always been savvy about his image and has a winning sense of humour about his career, which veers between respected performances, as in last year's drama Pig, and... let's just say a lot of over-the-top stuff. The Unbearable Weight promises to make references to plenty of his movies, so there is one safe bet: no film this year will be more meta. (CJ)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased internationally on 22 April\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-5"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfqm64"],"imageAlignment":"left","imageAltText":"Still from The Unbearable Weight of Massive Talent","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-6"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe Worst Person in the World\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIf you're lucky, you can get through your 20s with none of the restrictions you had as a child, and none of the responsibilities which come later. But what should you do with all that freedom? It's a question that puzzles Julie (Renate Reinsve) in Joachim Trier's bittersweet romantic comedy drama, The Worst Person in the World. Divided into 12 chapters, this generational character study follows Julie through her early adulthood in Oslo as she tries to decide which job and which man are right for her. According to viewers who have seen it at festivals and preview screenings, The Worst Person in the World is one of the Best Films in the World. It currently has a score of 100% on Rotten Tomatoes, Barack Obama included it on his list of favourite movies of 2021, and the luminous Reinsve won the best actress prize at Cannes. (NB)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased in the US on 4 February 2022\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EDon't Worry Darling\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThis psychological thriller has been garnering tabloid and internet headlines for months, thanks to the relationship between director Oliva Wilde, and one of its stars, popstar Harry Styles. What's on screen is likely to be much more fascinating, though. The ever-surprising Florence Pugh – of \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20191216-why-little-women-is-a-triumph\"\u003ELittle Women\u003C\u002Fa\u003E, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20190702-midsommar-and-the-blinding-terror-of-daylight-horror\"\u003EMidsommar\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210629-film-review-four-stars-for-exciting-black-widow\"\u003EBlack Widow\u003C\u002Fa\u003E – transforms herself yet again, into a 1950s housewife in a utopian community who begins to suspect that her world and her husband (Styles) are concealing dark secrets. Wilde, who sharply directed the very different coming-of-age comedy \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20190509-film-review-booksmart\"\u003EBooksmart\u003C\u002Fa\u003E, has \u003Ca href=\"https:\u002F\u002Fwww.vogue.com\u002Farticle\u002Folivia-wilde-cover-january-2022\"\u003Etold Vogue\u003C\u002Fa\u003E that films like Fatal Attraction and Indecent Proposal were among her inspirations here because they \"are really sexy, in a grown-up way\". That would certainly set her film apart in a world of superheroes. (CJ)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased internationally in on 23 September\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EShe Said\u003Cbr \u002F\u003E\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003EJournalists are the heroines here, with Carey Mulligan and Zoe Kazan playing the New York Times investigative reporters who unearthed the news about Harvey Weinstein, the one-time movie mogul now serving time in prison for rape and sexual assault. The woman behind the camera is as impressive as the stars, if less famous: Maria Schrader, recognisable as an actress (Deutschland 83) is also the Emmy-winning director of the Netflix series Unorthodox and the director of the Oscar-shortlisted comedy I'm Your Man. She should bring a sharp-eyed style and astute social awareness to the story that helped launch #MeToo. (CJ)\u003Cbr \u002F\u003E\u003Cbr \u002F\u003EReleased in the US on 18 November\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EBabylon\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EDamien Chazelle's love of Hollywood's golden age shone through his Oscar-nominated musical comedy, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20160901-oscar-glory-predicted-for-the-glorious-la-la-land\"\u003ELa La Land\u003C\u002Fa\u003E. Now the writer-director is sharing that love again in Babylon, a glamorous period drama that takes place in the roaring 20s. Specifically, the film is set at the end of the silent era, much like Singin' In The Rain and The Artist, and it mixes fictional characters with historical figures, much like \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20190522-cannes-2019-review-once-upon-a-time-in-hollywood\"\u003EOnce Upon a Time in Hollywood\u003C\u002Fa\u003E. It also shares two of its stars with Once Upon a Time in Hollywood: Brad Pitt plays a fictional director who has trouble adjusting to the new sound technology, and Margot Robbie plays Clara Bow, the real-life so-called \"It Girl\" who was a colossal box-office draw in both the silents and the talkies. (NB)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 25 December\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-7"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfqlx7"],"imageAlignment":"centre","imageAltText":"Still from Top Gun: Maverick","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-8"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ETop Gun: Maverick\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EOK, so this belated Top Gun sequel was on our list of films to watch in 2021, and before that it was scheduled to come out in 2020, but we're still optimistic that lovers of supersonic aerobatics will finally get what they've been waiting for this year, shortly before Tom Cruise's 60th birthday. It was back in 1986 that Cruise last played Pete \"Maverick\" Mitchell, a trainee fighter pilot in the US Navy. Can anyone really believe that, all these years later, Maverick would only be a captain while his old frenemy \"Iceman\" (Val Kilmer) would be a four-star general? Maybe not, but it should be fun to see Cruise in his Aviator shades and bomber jacket once again, alongside such new recruits to the series as Jennifer Connelly, Jon Hamm, Ed Harris and Miles Teller. Cruise fans take note: Mission: Impossible 7 is due in September, too. (NB)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased internationally on 27 May\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EAvatar 2\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThere are two things we know about James Cameron: he can't be rushed, and he loves the ocean. Those qualities come together in Avatar 2, the first of a whopping four planned sequels to his 2009 spectacle, the highest-grossing movie of all time. The new film returns to the planet of Pandora, where blue-skinned Neytiri (Zoe Saldana) and her human husband Jake (Sam Worthington) are now parents, and Earthlings still haven't solved the climate crisis. Most of the action takes place underwater and was shot in a 900,000-gallon tank. The Avatar sequels have been in the works for a decade, but Cameron's water-logged hits, Titanic and The Abyss, also arrived behind schedule, and it all turned out just fine. (CJ)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased internationally (so they say) on 16 December\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ELightyear\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EBuzz Lightyear has been central to four Toy Story feature films, his own TV series, and various animated shorts. This year, the square-jawed Space Ranger is getting a film of his own – sort of. The idea is that the Buzz Lightyear in Toy Story was a plastic action figure, whereas the new animation – a homage to the sci-fi films of the 1970s and 1980s – is the big-budget adventure movie which that action figure was based on. It's a slightly confusing concept, but it lets director Angus MacLane (co-director of Finding Dory) and screenwriter Pete Docter (Soul, Up, Inside Out) bring back a beloved character while giving his interstellar scrapes a new look, a more serious tone, and a fresh voice: Chris Evans rather than Tim Allen is the actor who'll be shouting, \"To infinity – and beyond!\" (NB)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased internationally on 17 June\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EElvis\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIt's been almost a decade since the release of Baz Luhrmann's The Great Gatsby, but the Australian writer-director of Strictly Ballroom, Romeo + Juliet, and Moulin Rouge! is back at last. Never one to shy away from a big, risky project, Luhrmann has made an Elvis Presley biopic that chronicles 20 years in the life of The King of Rock ’n’ Roll. Austin Butler – an uncanny lookalike – has the title role, alongside Olivia DeJonge as Elvis's wife Priscilla and Tom Hanks as his manager, \"Colonel\" Tom Parker, the Dutch carnival worker who reinvented himself as an all-American impresario. Don't be surprised if Luhrmann indulges his addiction to loud music and splashy spectacle in the Las Vegas scenes – and don't be surprised if Hanks is nominated for an Oscar in 2023. (NB)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 24 June\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-9"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bfqwq4"],"imageAlignment":"centre","imageAltText":"Ana de Armas","imageOrientation":"square","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022-10"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EBlonde\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIt's Ana de Armas's turn to put on the platinum wig as Marilyn Monroe, whose allure for novelists and filmmakers seems inexhaustible. Blonde is based on Joyce Carol Oates' 2000 novel that takes us inside the mind of Monroe, now known to the world as the neediest, sexiest and most tragically-exploited movie star of the 1950s and '60s. Writer-director Andrew Dominick, who made the underrated Brad Pitt Western The Assassination of Jesse James by the Coward Robert Ford, follows Oates' lead in coyly nicknaming Marilyn's husbands. Adrien Brody's character, Arthur Miller, is called only The Playwright. Bobby Cannavale, the Joe DiMaggio figure, is The Ex-Athlete. IMDb also lists a character called President's Pimp, so there may be room for surprises even in this often-told story. (CJ)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased in 2022\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EBlack Panther: Wakanda Forever\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EChadwick Boseman wasn't just the star of Black Panther, he \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201214-chadwick-boseman-a-film-icon-who-changed-hollywood\"\u003Ewas an inspirational figure who revolutionised Hollywood's representation of African and African-American character\u003C\u002Fa\u003Es. Shortly after he \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fworld-us-canada-53955912\"\u003Edied of cancer\u003C\u002Fa\u003E in August 2020, Marvel's boss, Kevin Feige, \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fentertainment-arts-55272409\"\u003Eannounced that no one else could play T'Challa\u003C\u002Fa\u003E, aka Black Panther, and so the character wouldn't be recast for further films. This left Ryan Coogler, the director and co-writer, with a fearsomely difficult task: how to make a satisfying \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20180206-black-panther-the-most-radical-hollywood-blockbuster-ever\"\u003EBlack Panther\u003C\u002Fa\u003E sequel without the franchise's lead actor and lead character. All we know for certain is that nearly all of the previous film's cast and crew will return, including Lupita Nyong'o as T'Challa's ex-girlfriend and Letitia Wright as his sister Shuri. In the comics, Shuri took on the mantle of the Black Panther while her brother was in a coma, so could something similar happen in the film? (NB)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 11 November\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EKnives Out 2\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ESame private detective: Daniel Craig as Benoit Blanc, the sleuth with the cartoonishly over-the-top accent from some indeterminate part of the American South. Different murder mystery: this time set in Greece, with a new cast including Edward Norton, Janelle Monáe and Dave Bautista. Same writer and director: Rian Johnson, but much richer. \u003Ca href=\"https:\u002F\u002Fwww.hollywoodreporter.com\u002Fmovies\u002Fmovie-news\u002Fknives-out-sequels-the-whodunit-behind-netflixs-469-million-power-play-4161957\u002F\"\u003ENetflix made a deal reportedly\u003C\u002Fa\u003E for $469 million (including production budget) for two sequels to \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20190911-toronto-international-film-festival-review-knives-out\"\u003EJohnson's 2019 hit\u003C\u002Fa\u003E that evoked the classic board game Cluedo (or Clue, if you're in North America). Whodunnits come and go, but Craig's Blanc is an original, witty confection of a character, an engaging parody that still allows you to be invested in his crime-fighting. (CJ)\u003C\u002Fp\u003E\n\u003Cp\u003EReleased in 2022, possibly with an updated title\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\u002F20220106-22-films-to-watch-in-2022-11"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2022-01-07T00:00:10Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"22 films to watch in 2022","headlineShort":"22 films to watch in 2022","image":["p0bfqlpz"],"imageAlignment":"centre","imageAltText":"Still from The Northman","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":"6183c2c945ceed0d2f73335b"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"From a psychological thriller starring Harry Styles and Florence Pugh, to Robert Pattinson as The Batman, and sequels to Avatar and Knives Out, our critics pick 2022's best releases.","summaryShort":"Including The Batman and a Buzz Lightyear origin story","tag":null,"textToSpeech":false,"creationDateTime":"2022-01-07T00:00:08.990054Z","entity":"article","guid":"4c0a0246-82a7-4586-8bbc-b9ad409f04e0","id":"culture\u002Farticle\u002F20220106-22-films-to-watch-in-2022","modifiedDateTime":"2022-01-07T00:00:08.990054Z","project":"culture","slug":"20220106-22-films-to-watch-in-2022","cacheLastUpdated":1642294169517},"culture\u002Farticle\u002F20211215-film-review-the-lost-daughter":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211215-film-review-the-lost-daughter","_id":"61ce4f4545ceed6b5c3ff271","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fcaryn-james"],"bodyIntro":"In her first film as writer-director, Maggie Gyllenhaal adapts Elena Ferrante's fiction 'with a true artist's vision', writes Caryn James.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EA middle-aged professor who once abandoned her family, a little girl who wanders off on a beach and even that girl's missing doll, which when found spurts filthy water from her mouth – there are many lost daughters in this eloquent adaptation of Elena Ferrante's 2008 novel, along with one eye-opening find: Maggie Gyllenhaal as a filmmaker with a true artist's vision.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003Cbr \u002F\u003E \u003C\u002Fstrong\u003E- \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211215-film-review-the-matrix-resurrections\"\u003EHow good is The Matrix 4?\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211215-film-review-five-stars-for-spider-man-no-way-home\"\u003EFive stars for Spider-man: No Way Home\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211202-five-stars-for-spielbergs-moving-west-side-story\"\u003EFive stars for 'moving' West Side Story\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EPlenty of actors who turn to directing can surround themselves with a first-rate crew, and come through with perfectly competent results. Fewer can do what Gyllenhaal accomplishes here. In her first film as writer-director, she transforms Ferrante's often enigmatic fiction into a drama that lives dynamically on screen.\u003C\u002Fp\u003E\n\u003Cp\u003EGyllenhaal completely understands the appeal behind the cult of Ferrante, whose books – including My Brilliant Friend and the three other Neapolitan novels, which arrived after The Lost Daughter – probe the emotions beneath the lives of ordinary women. She also had the judgement and good fortune to cast Olivia Colman, who brings a vibrant presence and all her powers of subtlety to the role of Leda, a professor on holiday in Greece. Leda's at-first inexplicable obsession with a big, boisterous family she sees on the beach, especially the beautiful Nina (Dakota Johnson) and her often clingy little girl, leads to memories of her own fraught past as a mother and a daughter.\u003C\u002Fp\u003E\n\u003Cp\u003EColman can make Leda simply driving a car seem dramatic, as the expression on her face quietly captures the emotional turmoil she tries so hard to contain. And Gyllenhaal can turn an image of rotting fruit into a jump-scare. Nuanced though it is, the story is always engaging and full of unexpected turns.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211215-film-review-the-lost-daughter-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The soul of the film exists in the small exchanges and tensions between characters","id":"culture\u002Farticle\u002F20211215-film-review-the-lost-daughter-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe setting was transplanted to Greece, rather than the novel's location of Italy, so the film could be shot there. Leda is now British and the family on the beach is from Queens, New York, with Greek roots. And \u003Cem\u003Evoila\u003C\u002Fem\u003E – the actors' accents are neatly accounted for. Apart from such small tweaks, the film perfectly mirrors the graceful flow and underlying tension of Ferrante's story. As Leda says in the novel, \"The hardest things to talk about are the ones we ourselves can't understand,\" a line that might be a guiding principle for the film, whose entrancing narrative lures us into Leda's world with all its residual guilt and self-questioning.   \u003C\u002Fp\u003E\n\u003Cp\u003EShe arrives with a suitcase full of books for a quiet working holiday, and is at first annoyed by the noisy arrival of the American extended family. But Colman and Gyllenhaal create an intentionally queasy feeling when Leda spots Nina among them. Why is she so taken with that young mother and daughter? The answers arrive gradually, in flashbacks with Jessie Buckley as the prickly younger Leda.\u003C\u002Fp\u003E\n\u003Cp\u003EThe story has its moments of suspense, especially when Nina's child wanders off from the beach. But the soul of the film exists in the small exchanges and tensions between characters. No motive or interaction is simple, the complications expressed sometimes in glances, sometimes in words. Dagmara Domińczyk sharply defines Nina's brash, pregnant sister-in-law, Callie, who is by turns benign and intrusive. \"Children are a crushing responsibility,\" Leda tells her, hardly the diplomatic thing to say to a woman expecting her first child, but the comment – maybe wilfully hurtful, maybe thoughtless – is true to Leda's character. Johnson, in her best performance by far, poignantly captures Nina's jumpiness and ambivalence as a woman with nothing to complain about (so she says), except an exhausting child who makes her feel trapped in her own existence. Even the supporting characters have secrets and mysteries. Paul Mescal from Normal People plays Will, an assistant on the beach whose friendship with Leda is slightly unsettling. Ed Harris plays the attentive caretaker of the apartment Leda rents, who may be attracted to her, or simply lonely, or possibly toying with her in some way. The missing doll leads to subterfuge and suspicion. And we begin to wonder whether Leda has tipped over from ordinary to something more disturbed.\u003C\u002Fp\u003E\n\u003Cp\u003EIn the flashbacks, chronologically but piecemeal, we come to see how Leda became who she is. Buckley's fierce character is a woman whose passion and professional ambition are a bad fit for her domestic life with her husband and two small daughters. She is never uncaring, but she slams doors, snaps impatiently at her children, and faces a dilemma when she meets an attractive colleague (Peter Sarsgaard). Like Ferrante, Gyllenhaal surfaces uncomfortable questions, including: how far can a woman defy society's expectations and her maternal role in the interest of saving her own sanity?\u003C\u002Fp\u003E\n\u003Cp\u003EOff-screen Gyllenhaal has surrounded herself with other first-rate collaborators, especially \u003Cem\u003EHélène\u003C\u002Fem\u003E Louvart, whose cinematography captures the bright sun and glimmering night streets, and takes us inside an exuberant town dance where Leda lets loose to Bon Jovi's Livin' on a Prayer.\u003C\u002Fp\u003E\n\u003Cp\u003EYou don't have to know or even like Ferrante's writing to appreciate this colourfully realised world. But it's notable that Ferrante herself trusted Gyllenhaal with her novel, supporting her choice \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Flifeandstyle\u002F2018\u002Foct\u002F06\u002Fmaggie-gyllenhaal-elena-ferrante-film-book\"\u003Ein a short newspaper column that said\u003C\u002Fa\u003E: \"There's something much more important at stake than this instinct to protect my own inventions. Another woman has found in that text good reason to test her creative capacities.\" And since the film first appeared on the festival circuit, winning best screenplay at Venice, \u003Ca href=\"https:\u002F\u002Fwww.vulture.com\u002F2018\u002F10\u002Fmaggie-gyllenhaal-details-her-adaptation-of-ferrante-novel.html\"\u003EGyllenhaal has said in interviews\u003C\u002Fa\u003E that she wrote a letter to the author describing her idea for the film, and that Ferrante agreed only on the condition that Gyllenhaal herself direct it. That stipulation was a generous act that protected a first-time filmmaker from the risk of having the project taken away from her, but it was also a shrewd move on Ferrante's part. It preserved a vision of The Lost Daughter that now stands on its own as a dazzling, beautifully realised film.\u003C\u002Fp\u003E\n\u003Cp\u003E★★★★★\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EThe Lost Daughter is on Netflix from 31 December.\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\u003EBBC Culture Film and TV Club\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\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"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-film-review-the-lost-daughter-2"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-12-31T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Five stars for The Lost Daughter","headlineShort":"Five stars for The Lost Daughter","image":["p0b69wnv"],"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":"6183c2c945ceed0d2f73335b"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Ffilm-reviews"],"summaryLong":"In her first film as writer-director, Maggie Gyllenhaal adapts Elena Ferrante's fiction 'with a true artist's vision', writes Caryn James.","summaryShort":"Maggie Gyllenhaal's Elena Ferrante adaptation has 'a true artist's vision'","tag":["tag\u002Ffilm-reviews"],"textToSpeech":false,"creationDateTime":"2021-12-31T00:30:54.378334Z","entity":"article","guid":"f511066c-7611-4725-8a5a-77d5a719dbd7","id":"culture\u002Farticle\u002F20211215-film-review-the-lost-daughter","modifiedDateTime":"2021-12-31T00:30:54.378334Z","project":"culture","slug":"20211215-film-review-the-lost-daughter","cacheLastUpdated":1642294169517},"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail","_id":"61b8ced745ceed06175ebf79","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Femily-maskell"],"bodyIntro":"Thirty years on, Gus Van Sant's masterpiece still astounds. With their tender performances, its two stars Keanu Reeves and River Phoenix reinvigorated the pinup ideal, writes Emily Maskell.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EKeanu Reeves and the late River Phoenix were in their 20s when they starred in Gus Van Sant's 1991 cult classic My Own Private Idaho. The two actors were already well on their way to becoming household names when they diverted from Hollywood's well-trodden path to star in Van Sant's third feature: a queer, cult and unprecedented title in both Reeves and Phoenix's filmographies.\u003C\u002Fp\u003E\n\u003Cp\u003E \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\u002F20211130-the-power-of-the-dog-the-films-tackling-toxic-masculinity\"\u003EThe films tackling toxic masculinity\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211105-belfast-the-troubled-city-filmmakers-love\"\u003EThe troubled city filmmakers love\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211125-10-films-to-watch-this-december\"\u003ETen films to watch this December\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThis year marks the 30th anniversary of My Own Private Idaho, a loose adaptation of Shakespeare's Henry IV, and one of Van Sant's most quietly affecting titles. A moving and meditative character study, the film is an expedition of two young hustlers: Michael \"Mike\" Waters (River Phoenix), a narcoleptic vagabond yearning to feel the warm embrace of home, and the handsomely charming Scott Favor (Keanu Reeves), a mayor's son who is wayward and indulging in sex work as he awaits access to his bountiful inheritance. Part arthouse cinema, part unconventional road-trip movie, My Own Private Idaho makes for a pivotal – if not definitive – outlier in the pin-up lineage of Reeves and Phoenix's respective acting careers.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bc3x8l"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhile My Own Private Idaho journeys from Portland to Idaho to Italy in search of Mike's mother, Van Sant's first stop is to spotlight the \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20191218-timothe-chalamet-and-hollywood-heartthrobs-through-the-ages\"\u003EHollywood heartthrobs\u003C\u002Fa\u003E in a whole new light. The first close-up glance viewers are granted of Phoenix is Mike's expression as he receives fellatio. The explicit moment precedes a barn house falling from the sky and smashing on to the wide, open road. Instantaneously, this teen idol sheds his poster-boy skin, and lurches towards the unconventionality of Van Sant's magisterial vistas of Idaho. \u003C\u002Fp\u003E\n\u003Cp\u003EWith a liberal attitude towards sex, sex work, and queerness, Van Sant transposed the young gleaming Hollywood stars into his indie cinematic frame. But asking viewers to empathise with the potentially unfavourable queer, social-outcast sex workers was a risk for the actors. \"In 1991, even 14 years before Brokeback Mountain, the conventional Hollywood wisdom was that it was career suicide for a leading man to be identified as gay,\" \u003Ca href=\"https:\u002F\u002Fharpercollins.co.uk\u002Fblogs\u002Fauthors\u002Fgavin-edwards\"\u003EGavin Edwards\u003C\u002Fa\u003E, author of Last Night at the Viper Room: River Phoenix and the Hollywood He Left Behind, tells BBC Culture. It is as if these two actors were outrunning the trappings of Hollywood fame by venturing out of the realm of heartthrob typecasting. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Reeves and Phoenix give life to these two social-outcast delinquents with an intimate seriousness","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe figure of the hustler – not the Richard Gere-type gigolo – serving a male clientele was not just outré, but also unconventional for mainstream 90s audiences. Midway through their journey, Scott and Mike meet one of their past customers, Hans (Udo Kier), at a hotel. After some passes in the lobby, the trio go to Hans's room and have a threesome that is shown with a mirage of quasi-stop-motion \u003Cem\u003Etableaux vivants\u003C\u002Fem\u003E. Van Sant's camera burrows at awkward angles with overlapping limbs and high-contrast shadows.\u003C\u002Fp\u003E\n\u003Cp\u003EVan Sant's arthouse cinematic style is another factor that forgoes the traditional depiction of the Hollywood heartthrob. While My Own Private Idaho's DVD cover description notes how it stars \"America's hottest young male stars\", the film's artistic flair and unorthodox imagery is less focused on flaunting the beauty and charisma of its actors. Instead, it contorts their golden-boy image into directionless, negligent and lawless characters. This departure from leading-man conventionality was incontrovertible, as \u003Ca href=\"https:\u002F\u002Fwww.nytimes.com\u002F1991\u002F09\u002F27\u002Fmovies\u002Freviews-film-festival-a-road-movie-about-male-hustlers.html\"\u003EVincent Canby\u003C\u002Fa\u003E, in his 1991 New York Times film review, notes: \"The performances, especially by the two young stars, are as surprising as they are sure.\" Reeves and Phoenix paint Scott and Mike with a genuine authenticity that doesn't poke fun or reduce the characters to hollow comedic opportunities, giving life to these two social-outcast delinquents with an intimate seriousness.\u003C\u002Fp\u003E\n\u003Cp\u003EThe film inverted the movie pin-up idea that audiences had grown accustomed to in other ways, too. The usual floppy hairstyle and boyish charm of the Hollywood leading man are replaced by a shaggy cut paired with untamed stubble. This grungy aesthetic also blends into Beatrix Aruna Pasztor's costume design. Mike is rarely without his burnt-orange dirt-scuffed jacket. Van Sant implements this gritty-edged style throughout his cinematic world; it is a million miles away from the action hero or suave-gentleman archetype Reeves and Phoenix could have otherwise channelled.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bc3xp7"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"It's certainly the case that there are trends in each era that come to temporarily define male imagery on the screen and that are reflective of cultural changes,\" Dr Karen McNally, reader in American film, television and cultural history at London Metropolitan University, tells BBC Culture. Many Hollywood movies of the 1980s presented \"a hyper-masculinity of the Reagan era. Michael Douglas's entitled white masculinity in Wall Street and Fatal Attraction and the aggressive physicality of Sylvester Stallone and Arnold Schwarzenegger became emblems of the hyper-male politics and culture of the 1980s.\" It was this hardened masculinity, one that was unmoving and stoic, sitting at the intersection of mystery and virility, that Van Sant's My Own Private Idaho went on to undermine. From the physical closeness of the two characters to Mike's physical weakness with narcolepsy, the brutish male is non-existent here. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMasculinity unravelled\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe pair's previous film roles had been accessible and wide in appeal. While Reeves starred in the comedy Bill & Ted's Bogus Journey (1991) as the titular Ted, and was a top-billing action hero in Kathryn Bigelow's Point Break (1991), Phoenix was coming into his own, and acting in mainstream blockbusters, including the younger version of Harrison Ford's Indiana Jones in Indiana Jones and the Last Crusade (1989). \u003C\u002Fp\u003E\n\u003Cp\u003EDuring the 90s, however, Reeves and Phoenix were couched beside contemporaries who were playing very different roles. The likes of Brad Pitt, Leonardo DiCaprio, Matt Damon, Ethan Hawke, Will Smith and Heath Ledger embodied a new, emerging generation of charming, modern leading men. While these actors can be grouped together as 90s heartthrobs, their work differed hugely.\u003C\u002Fp\u003E\n\u003Cp\u003EOn the more expected side of the heartthrob range, you have an actor like Will Smith, whose blossoming breakthrough matured with his late 90s appearance as the charismatic blockbuster star in Men in Black (1997) and the headlining hero in the action-thriller Enemy of the State (1998). These mainstream macho-saviour roles, once the epitome of the heartthrob's work, were gradually being replaced by sensitive pin-ups: Matt Damon's Oscar-winning turn in Good Will Hunting (1997) allowed him the best of both worlds: to be a mathematic genius, and have the emotional sensitivity to cry. DiCaprio was also leaning towards this portrayal of a more sensitive masculinity, as he recited Shakespearean verse  throughout Romeo + Juliet (1996).\u003C\u002Fp\u003E\n\u003Cp\u003EBoth of these films see rigid masculinity unravelled. It is My Own Private Idaho, however, that is the very epitome of this radical pivot. In lieu of pin-up roles, Reeves and Phoenix –  although remaining a part of this heartthrob collective – present the most outright recalibration of the traditional teen-idol template in Van Sant's film with their emotionally sensitive performances. As Dr McNally puts it: \"The introspective vulnerability of outsiders displayed by Keanu Reeves and River Phoenix in My Own Private Idaho becomes almost a reactive backlash against an earlier brand of masculinity and an attempt to redefine the screen male for the next decade.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Thirty years on, the disarmingly tender camp-fire moment still resonates with ground-breaking emotional force","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIntegral to this portrayal of sensitive masculinity is the film's much-lauded camp-fire scene, a pivotal centrepiece and a defining moment of these actors' superlative performances. Camping overnight on their journey to Mike's brother's house, hunting down clues to Mike's mother's whereabouts, Mike and Scott huddle around their flickering camp-fire. Scott lies outstretched with confident ease, while Mike is sitting with his knees coyly to his chest. The homoerotic tension mounts as Van Sant captures the moment of telling your best friend you are in love with them with the same theatrical tension as guns being drawn in a Western.\u003C\u002Fp\u003E\n\u003Cp\u003EAn object of desire for both Van Sant's lens and Mike's hesitant gaze, Scott mutters: \"two guys can't love each other\". Mike's whispered response is an agonising confession: \"I could love someone even if I wasn't paid for it. I love you and you don't pay me… I really want to kiss you, man.\" His affections are no longer surreptitious but they are met with a softly spoken rejection. Yet Scott opens his arms for Mike to crawl into, cradling him close as they fall to sleep. The overwhelming and affecting sensitivity of the scene makes for, as \u003Ca href=\"https:\u002F\u002Fwww.criterion.com\u002Fcurrent\u002Fposts\u002F596-my-own-private-idaho-private-places\"\u003EAmy Taubin\u003C\u002Fa\u003E writes in her 2015 essay for The Criterion Channel, \"a startlingly naked expression of lovelorn longing\".\u003C\u002Fp\u003E\n\u003Cp\u003EIt is this male vulnerability from both Reeves and Phoenix that is salient in a scene whose career-impacting potential cannot be overstated. Reminiscing about Phoenix, his Stand by Me (1986) co-star \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=v_SAWOZm5Wg\"\u003EWil Wheaton\u003C\u002Fa\u003E described the actor as \"this raw, emotional open wound all the time. He felt everything. And it's what made him such a wonderful, wonderful actor.\" In this apotheotic camp-fire scene, Phoenix embalms Mike's sincerity as both eloquent and messy, inarticulate then blunt, hopeful then rejected. It is a poetic tragedy the character doesn't shy away from or violently react to; instead, he brews in the fragility of his admission. Such emotional intelligence allows both 90s vanguards to digress from the more one-dimensional brand of masculinity that had dominated the 90s cinematic love interest.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bc3xzx"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThirty years on, the disarmingly tender camp-fire moment still resonates with ground-breaking emotional force. When gazing over My Own Private Idaho's flickering flames, one can't help but draw comparison to present-day heartthrob Timothée Chalamet and his teary-eyed fireplace sequence that concludes Luca Guadagnino's Call Me By Your Name (2017).\u003C\u002Fp\u003E\n\u003Cp\u003EIn Call Me By Your Name, Chalamet sensitively depicts Elio's sun-drenched summer of queer infatuation sparked by the arrival of his father's graduate student. With Chalamet, an emblem of today's magnetic teen idol, the resemblance between generational heartthrobs is strikingly similar. Not only did Chalamet star in Call Me By Your Name when he was the same age as Phoenix in My Own Private Idaho, but his character too comes to terms with an unrequited queer love that burns as fiercely as the flames before him. It seems Chalamet is walking a similar path to predecessors Reeves and Phoenix, or that the 90s stars at least made this path of a heartthrob accessible to a new generation of contemporary actors. \u003C\u002Fp\u003E\n\u003Cp\u003EReflecting on Phoenix's legacy of reinvigorating the Hollywood pin-up, Edwards says: \"While [Phoenix] had classic Hollywood leading-man looks and the sort of charisma that made people say he looked like he was glowing from within, he also espoused crunchy values [veganism and environmental activism]. That mix made him an alternative to the rest of the pretty teenage boys.\" It could be argued that Phoenix was ahead of his time. Today fans are asking for more than just good looks from their celebrity idols, they need to have something to say; for instance, Leonardo DiCaprio is an outspoken environmental activist, and after working with Woody Allen, Chalamet denounced the director and donated what he earnt from the film to charity. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-10"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"My Own Private Idaho took its stars to places where Hollywood wouldn't take its heartthrobs","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhen it comes to performance colliding with persona, Phoenix is posthumously compared to James Dean, and it now seems Chalamet is being likened to Phoenix. Passing the heartthrob mantle forward, Phoenix's re-making of Hollywood's manhood in My Own Private Idaho was a reckoning, and one can only imagine what his acting prowess would have gone on to conquer if it were not for his premature death.\u003C\u002Fp\u003E\n\u003Cp\u003EMeanwhile, Reeves's career flourished after My Own Private Idaho. He went on to star in The Matrix and the John Wick franchises, blossoming from pin-up to one of Hollywood's greats. It seems Chalamet may have taken note, for he too straddles arthouse and blockbuster, the latter more recently with his leading role as the universe's deity in Denis Villeneuve's Dune (2021).\u003C\u002Fp\u003E\n\u003Cp\u003EEmerging as two of the most celebrated and idiosyncratic actors of the 90s, Reeves and Phoenix's gave performances in My Own Private Idaho – at the zenith of their heartthrob status – that allowed an impressive emancipation from the narrow scope of the leading man. Registering as a reverential artefact in their filmographies, My Own Private Idaho took its stars to places where Hollywood wouldn't take its heartthrobs: to political and artistic expression with drug-dazed homosexual hustlers.\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\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail-12"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-12-27T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"My Own Private Idaho: The cult 90s film that blazed a trail","headlineShort":"The cult 90s film that blazed a trail","image":["p0b9xr5t"],"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":"6183c2c945ceed0d2f73335b"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"My Own Private Idaho","promoImage":["p0b9xr5t"],"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"Thirty years on, Gus Van Sant's masterpiece still astounds. With their tender performances, Keanu Reeves and River Phoenix reinvigorated the pinup ideal, writes Emily Maskell.","summaryShort":"How My Own Private Idaho re-invented the Hollywood heartthrob","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2021-12-14T17:05:20.759509Z","entity":"article","guid":"6db4b2f1-aaea-4490-9cd3-71ff1d35adeb","id":"culture\u002Farticle\u002F20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail","modifiedDateTime":"2021-12-30T14:20:27.424702Z","project":"culture","slug":"20211214-my-own-private-idaho-the-cult-90s-film-that-blazed-a-trail","cacheLastUpdated":1642294169517},"culture\u002Farticle\u002F20211215-the-best-films-of-2021":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211215-the-best-films-of-2021","_id":"61c4938345ceed19c347bf43","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber-and-caryn-james"],"bodyIntro":"BBC Culture film critics Nicholas Barber and Caryn James pick their highlights of the year, including Nomadland, Another Round and West Side Story.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"infographic","image":["p09d1xyg"],"imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-0"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EJudas and the Black Messiah\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe true story of Fred Hampton, the Black Panther Party leader who was murdered in 1969 on orders from the FBI, becomes high drama in director Shaka King's film, which is by turns suspenseful, action-filled and intimate. Daniel Kaluuya's Oscar-nominated performance as Hampton is so charismatic – he was a passionate revolutionary and a dynamo of a public speaker – that it demonstrates why the FBI feared Hampton would become a Messiah. LaKeith Stanfield brings wiliness and desperation to the Judas figure, who infiltrates the Panthers for the government and betrays Hampton. Beyond these electrifying personal stories, the film's themes of black power and police abuse resonate profoundly with social justice movements today. (CJ)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-1"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bcxb96"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-2"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe Green Knight\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe Green Knight features castles, giants, witches and damsels in distress, just like countless swords-and-sorcery adventures before it. But such time-honoured elements have never seemed as mysterious or as magical as they do in this dreamlike film, adapted from the 14th-Century poem by David Lowery (A Ghost Story \u002F The Old Man and the Gun). Dev Patel plays Gawain, a callow knight who is so keen to impress King Arthur (Sean Harris) that he beheads a monstrous tree-man (Ralph Ineson). The trouble is that the tree-man then strolls off, and chivalric honour dictates that Gawain must seek him out for a rematch a year later. His quest can be bewildering, but the imagery and imagination will have you gasping from first frame to the last. (NB)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-3"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09d1xt9"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-4"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ERaya and the Last Dragon\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EFunny, colourful and action-filled, this Disney family film set in the fictional ancient Asian kingdom of Kumandra is a delight. Raya is a young warrior heroine (voiced with the perfect mix of spirit and doubt by Kelly Marie Tran) who must find the last surviving magical dragon so she can defeat the powers of evil and save her father. That dragon turns out to be the traditional, energetic, smart-mouthed comic sidekick, played by the ideally cast Awkwafina. With Daniel Dae Kim as Raya's father and Gemma Chan as her fearsome rival, the film is a visual swirl of shape-shifting and fast-paced adventure, featuring a non-sugary lesson about learning to trust. (CJ)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-5"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09d1xvh"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-6"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ENomadland\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EChloé Zhao follows The Rider – one of 2017's best films – with another humane and hypnotic survey of the kind of marginal American life that Hollywood usually ignores. Adapted from the book by Jessica Bruder, Nomadland stars Frances McDormand as Fern, a retired widow with no children. Like a surprising number of her fellow pensioners, she can't afford to stay in her house, so she packs her few belongings into an old RV and drives around the desert (stunningly shot by Joshua James Richards). McDormand is one of the only professional actors in the cast – in most scenes she interacts with real nomads who recount their own experiences. But she and Zhao blur the boundaries between fact and fiction so skillfully that Fern never seems out of place. Nomadland is \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200914-nomadland-review-overflowing-with-humanity-and-tenderness\"\u003Ea wonderful achievement\u003C\u002Fa\u003E. Apart from The Rider, there aren't any films quite like it. (NB)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-7"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bcx9q2"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-8"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe Lost Daughter\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EMaggie Gyllenhaal brings a true artist's vision to her first film as writer-director, an adaptation of Elena Ferrante's novel about Leda, a middle-aged professor, whose obsession with a younger mother and daughter she hardly knows brings her reeling back to examine her own past. Olivia Colman makes the imperfect heroine dynamic even in her quietest moments. Always impeccable, Colman has never been better. With Jessie Buckley playing Leda in flashbacks, and Dakota Johnson as the young woman Leda meets, the film is full of vibrant performances. Gyllenhaal captures all of Ferrante's nuance, but makes the story of women questioning their roles as mothers and as individuals its own entrancing work of art. (CJ)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-9"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09x617v"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-10"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ENo Time to Die\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EDaniel Craig's emotional farewell to the Bond series was delayed and delayed, so it was a cause for celebration when No Time to Die \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210928-five-stars-for-no-time-to-die\"\u003Efinally made it to cinemas\u003C\u002Fa\u003E, and audiences were reminded of all the over-the-top entertainment that the silver screen had to offer. Cary Joji Fukuyama, the film's director, took a \"go big or go home\" approach, and spent almost three hours piling on fabulous locations and flamboyant action set pieces, giddy comedy and grave drama. The most impressive part was that, along with the countless callbacks to previous Bond films and novels, there were a number of shocking new developments. That's not bad going, 60 years into a crowd-pleasing franchise. The only question now is: \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210913-what-the-future-of-bond-movies-could-look-like\"\u003Ewhere can 007 possibly go next\u003C\u002Fa\u003E? (NB)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-11"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b69d89"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-12"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EWest Side Story\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIt would be hard to mess up West Side Story, with music so exquisite it can overcome any problems. It is even harder to create a film as glorious as \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211202-five-stars-for-spielbergs-moving-west-side-story\"\u003ESteven Spielberg's inspired new version\u003C\u002Fa\u003E, full of life and energy. The film honours the beauty of the Leonard Bernstein-Stephen Sondheim score, while adding a 21st-Century sensibility that includes a diverse cast and heightened awareness of the ethnic rivalry that divides its star-crossed lovers. Rachel Zegler is the ideal Maria, and Ariana DeBose a kinetic Anita, but Rita Moreno (the original Anita on stage and screen) is the true heart of the film. As a kind neighbourhood storeowner helpless to stop the hatred and violence she sees all around her, Moreno helps makes the classic story new. (CJ)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-13"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bcm08n"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-14"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EPassing\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ERebecca Hall makes the leap from actor to writer-director – and not many people have done so with such elegance and intelligence. Passing, her delicate, melancholy adaptation of Nella Larsen's novel, stars Tessa Thompson and Ruth Negga as two well-to-do black women who bump into each other in New York in the 1920s, years after they were childhood friends. While one of them is now a society hostess and \"Negro rights\" activist in Harlem, the other has convinced everyone that she is actually white, including her proudly racist husband (Alexander Skarsgård). Shot in gorgeous, glowing black and white, this is a spellbinding drama in which endless grievances and yearnings are implied but left unspoken by its careful characters. (NB)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-15"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b0vdll"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-16"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EDrive My Car \u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EYes, the title brings to mind the Beatles song, but it shouldn't. Japanese director Ryusuke Hamaguchi has created one of the most unusual and eloquent films of recent years. Yusuke (Hidetoshi Nishijma, quiet yet profound) is an actor and stage director whose wife dies early in the film. Two years later he is staging a multilanguage production of Chekov's Uncle Vanya in Hiroshima, where a young woman becomes his driver. Her history and her grief are different from his, yet together they come to terms with the past and the future. Drive My Car is a film of conversations and theatre rehearsals, of confidences and secrets, all so beautifully lived in that the three-hour running time never seems long or slow. The film light-handedly mirrors Uncle Vanya in its sense of lost chances, wasted time, and the need to go on living. (CJ)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-17"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09xcqy1"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-18"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ETitane\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ETitane is a Cronenbergish sci-fi body horror movie about a serial killer (ferocious newcomer Agathe Rousselle) who finds herself pregnant with the oily offspring of a car. And yet, somehow, Julie Ducornau's juicy slice of extreme cinema is even weirder than that summary might suggest. A nightmarish yet mischievously comic \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210715-titane-the-most-shocking-film-of-2021\"\u003Eand ultimately tender\u003C\u002Fa\u003E barrage of transgressive sex, bone-crunching violence, lurid lighting and pounding music, Titane prompted more yelps, winces, uneasy chuckles, and gasps of disbelief than any other film this year. It was also the second ever film directed by a woman to win the Palme d'Or at Cannes. (NB)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-19"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bclzks"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-20"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EPetite Maman\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ECeline Sciamma brings all the visual beauty of Portrait of a Lady on Fire to this very different, dreamlike little masterpiece, which has the aura of a fairy tale and the grip of real life. Nelly is an eight-year-old staying in an isolated house in the woods, which her divorced parents are clearing out after the death of her grandmother. She wanders into the woods and meets another girl, Josephine, her double – the girls are played by real-life twins – whom we slowly come to realise has a supernatural connection to Nelly's own mother. The child's imagination and point of view allow Sciamma to speculate about grief and identity in this lyrical, mysterious, thoroughly absorbing work that exists on the line between magic and emotional truth. (CJ)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-21"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09tvf2h"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-22"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe Power of the Dog\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ETwenty-eight years after the release of \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20191125-the-piano-number-one-film-directed-by-woman-poll\"\u003EThe Piano\u003C\u002Fa\u003E, Jane Campion brings us another atmospheric period drama shot in the wilds of New Zealand. But The Power of the Dog is darker and stranger than her previous masterpiece, and \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210902-the-power-of-the-dog-a-five-star-brooding-melodrama\"\u003Ehorribly gripping in its own right\u003C\u002Fa\u003E. It also boasts one of Benedict Cumberbatch's most transformative performances as a venomous Montana rancher who resents his strait-laced brother (Jesse Plemons) and his timid new sister-in-law (Kirsten Dunst). Adapted from Thomas Savage's novel, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211130-the-power-of-the-dog-the-films-tackling-toxic-masculinity\"\u003Ethe slow-burning tale of toxic masculinity\u003C\u002Fa\u003E seems at first to be an epic Western, but it becomes a brooding gothic melodrama set in a world that feels supernaturally creepy yet completely real. (NB)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-23"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09rg2jm"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-24"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ESummer of Soul (...or, When the Revolution Could Not Be Televised)\u003C\u002Fstrong\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\"\u003EThis joyous documentary\u003C\u002Fa\u003E about a long-forgotten 1969 music festival, sometimes called the Black Woodstock, is an intellectually astute, vibrant piece of history. In his first film as director, Ahmir (Questlove) Thompson expertly curates the festival's exhilarating performances from Stevie Wonder, Nina Simone, Mahalia Jackson, The 5th Dimension and many others, putting them in the context of the festival's tense political moment, in the shadow of Dr Martin Luther King Jr's assassination just one year before. Expertly balancing entertainment and political purpose, the film isn't a nostalgic journey into the past: it reclaims a lost piece of history, repositioning it for our own era of racial awareness. (CJ)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-25"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p097wf4b"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-26"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe Father\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAnthony (an Oscar-winning Anthony Hopkins) is a sprightly 80-something who is enjoying retirement in his beloved London flat. His daughter (Olivia Colman) is caring and attentive, but the people and the furniture around him keep changing, giving The Father the feel of a horror movie – and in a way it is. The conceit is that Anthony has dementia, and most of the film is shown from his perspective. \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210224-can-film-really-help-us-understand-the-pain-of-dementia\"\u003EIt's chilling, upsetting, but utterly gripping\u003C\u002Fa\u003E, because you never know what will happen next and how it will connect to what's gone before. Not that The Father is a mere exercise in technical ingenuity. Florian Zeller's grief-racked drama, which he adapted from his own play with the help of Christopher Hampton, makes you dread having an infirm parent, and makes you dread becoming one even more. (NB)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-27"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b69cjb"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-28"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe Tragedy of Macbeth\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EPerhaps only someone with Joel Coen's credentials could have got this commercially unlikely, black-and-white Shakespeare film made, but it's great that he did. His intense, pared-down vision of one of Shakespeare's most accessible and enduring plays is a stunner. Denzel Washington's powerfully contained performance as Macbeth gives us the essence of a man driven by ambition and tortured by guilt. Frances McDormand's Lady Macbeth is his match, and the bond between them sends them on the irreversible path to tragedy. The settings, most of them interiors, are theatrical, geometric and luminous, but the film is pure cinema as we close in on the faces of characters whose every move might bring them closer to glory or to death. Kathryn Hunter is haunting as all three witches in this lucid, richly imagined drama. (CJ)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-29"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09d1xsn"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-30"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ESupernova\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThis tender tribute to love and friendship stars Colin Firth as an English concert pianist and Stanley Tucci as his partner, an American author with early-onset dementia. As the men drive through the scenic Lake District in their trusty camper van, they have to face up to the likelihood that this will be their final holiday together – and work out what to do next. It’s a heart-wrenching scenario, but for now the couple is a pleasure to be around: gentle, funny, open, and glowing with uncomplicated affection. The film is, too. Without ever veering into sentimentality, Harry Macqueen’s highly polished script and sensitive direction convey just how precious the men’s connection is, and how devastating it will be for them to lose it. (NB)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-31"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09d1xzy"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-32"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ENight of the Kings\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EHarsh realism meets legend in Philippe Lacôte's audacious, genre-bending drama. It is set in a run-down prison in the Ivory Coast, but its soul belongs to the storytelling traditions of African griots and Scheherazade. The inmates, roaming free in a courtyard, enact a ritual in which a chosen prisoner must tell a story all night or be killed. The young victim recounts his first-hand knowledge, or so he says, of a notorious criminal. As we see flashbacks to that tale, fact veers into myth, and a queen with supernatural powers goes into battle. At times prisoners chant and move in stylised, choreographed motions to mirror the narrative, in an artful film that immerses us in the life-saving power of stories. (CJ)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-33"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b69cg4"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-34"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EFlee\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAt a time when migrants are in the headlines on an almost daily basis, Jonas Poher Rasmussen's vital documentary uses a chatty interview format, and limpid 2D animation, to turn one asylum seeker from a statistic into a human being. The Afghan interviewee, a friend of Rasmussen's, recalls his traumatising and exhausting experiences: his father's arrest by the Taliban in Kabul, his family's escape to a Moscow tower block, his terrifying dealings with corrupt policemen and brutal human traffickers, and his solo trip to Copenhagen, where he was forced to keep his past a secret. This is a heart-rending but hopeful film that should be seen by everyone – and by politicians in particular. (NB)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-35"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09rfwx8"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-36"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EThe Human Voice\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ERunning only 30 minutes, this emotionally potent, visually dazzling little film comes from two masters. Directed by Pedro Almodóvar and starring Tilda Swinton, the drama is loosely based on Jean Cocteau's 1930 play, in which a woman talks on the phone to a man who has abandoned her. Almodóvar adds a meta twist as Swinton wanders from a deserted stage set into an apartment, suggesting she is playing a film role. Yet her tumultuous feelings are visceral. In voiceover and on her mobile phone, she speaks to the lover who has left her, cascading from defiant pride to pleading to resilience. In Balenciaga clothes, including a glamourous vermilion gown, Swinton roams around one of the most colourful sets in all of Almodóvardom, giving her character's monologue intimacy and urgency, until her old life goes up in flames. (CJ)\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-37"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09d1y0c"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-38"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EAnother Round\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThomas Vinterberg mixes an intoxicating cocktail of comedy and drama in Another Round (or Druk, to use its original Danish title), pouring out an outrageous premise and then combining it with sympathy and respect for the characters. The premise is that a history teacher (Mads Mikkelsen) and three of his closest colleagues decide to cope with middle age by drinking all day and hoping that no one else notices. Their experiment serves as both \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210125-how-do-you-act-drunk-on-screen\"\u003Ean uproarious celebration of alcohol\u003C\u002Fa\u003E and a piquant warning against becoming dependent on it. And Mikkelsen has never been better. His performance is a masterclass in subtlety and reserve, at least until he shows off his wildest jazz-ballet moves in the glorious final sequence. (NB)\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\u003Cem\u003E \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"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021-39"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-12-24T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The 20 best films of 2021","headlineShort":"The 20 best films of 2021","image":["p0bcmb8x"],"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":"6183c2c945ceed0d2f73335b"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"BBC Culture film critics Nicholas Barber and Caryn James pick their highlights of the year, including Nomadland, Another Round and West Side Story.","summaryShort":"Comedy, drama and animation","tag":["tag\u002Fbest-of-2021"],"textToSpeech":false,"creationDateTime":"2021-12-23T15:19:23.871339Z","entity":"article","guid":"e6311f5b-69a8-4429-b4f6-36cfd0b55625","id":"culture\u002Farticle\u002F20211215-the-best-films-of-2021","modifiedDateTime":"2021-12-24T10:39:29.605649Z","project":"culture","slug":"20211215-the-best-films-of-2021","cacheLastUpdated":1642294169518},"culture\u002Farticle\u002F20211215-film-review-the-matrix-resurrections":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211215-film-review-the-matrix-resurrections","_id":"61c1fa1945ceed694c66c951","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"The Matrix Resurrections is 'numbingly familiar', writes Nicholas Barber – lacking the visionary ambition of its predecessors, the latest in the franchise is more like 'The Matrix Reheated'.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt's been 18 years since the Matrix trilogy concluded, so why has Lana Wachowski chosen to revive the franchise now? She offers one answer early on in The Matrix Resurrections. The film starts by establishing that Neo (Keanu Reeves) is no longer the super-powered messiah who freed the human race from its robot overlords in The Matrix Revolutions. He is a miserable software-programmer called Thomas Anderson once again, just as he was at the beginning of The Matrix. The twist is that he's world-famous for developing three influential video games titled, yes, The Matrix. With me so far? The next twist is that Anderson swore that he would never make another Matrix game, but he reluctantly goes back on his word after one of his colleagues informs him, \"Our beloved parent company, Warner Brothers, is going to make a sequel to the trilogy – with or without us.\" So there we have it: Wachowski (without her sister Lilly this time) made The Matrix Resurrections simply because she didn't want someone else to do it behind her back.\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\u002F20211215-film-review-five-stars-for-spider-man-no-way-home\"\u003EFive stars for Spider-man: No Way Home\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211202-five-stars-for-spielbergs-moving-west-side-story\"\u003EFive stars for 'moving' West Side Story\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211125-10-films-to-watch-this-december\"\u003ETen films to watch this December\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWhether or not that really was her main motivation, this scene sums up the self-referential high jinks that run through the film's opening act. The idea is that everything we remember from the original Matrix trilogy was actually in Anderson's immensely popular game, so inane colleagues keep discussing the themes and the visual effects with him as if they were discussing the films. Depending on how generous you're feeling, Wachowski's postmodern jibes at her fans and paymasters will seem either audaciously iconoclastic or insufferably smug. But they're definitely lighter and sillier than anything in the cyberpunk extravaganza that blew audiences away in 1999. In fact, they're a bit like the wistful callbacks in \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20170123-film-review-is-t2-trainspotting-worth-the-wait\"\u003ET2: Trainspotting\u003C\u002Fa\u003E, and a lot like the self-parodying nods and winks in Peter Rabbit 2.\u003C\u002Fp\u003E\n\u003Cp\u003EThe best part of the opening scenes is that they raise the Total Recall-ish question of whether Neo's adventures happened at all, or whether they were all the delusions of a bitter wage slave. Did he ever fall in love with a woman called Trinity (Carrie-Anne Moss), or did he just spot a woman called Tiffany in a café and use her as a model for the gravity-defying martial artist in his video game? His therapist (Neil Patrick Harris) insists that the delusions will go away if he keeps taking his blue pills, and Anderson agrees. Even when strangers in snazzy suits start spraying machine-gun bullets around his office, he believes that his mind is playing tricks on him.\u003C\u002Fp\u003E\n\u003Cp\u003EIt's sweet to see the bearded, befuddled Anderson flirting awkwardly with Tiffany: Reeves has never seemed as vulnerable as he does in his melancholy scenes of faltering middle-aged romance. And the cheeky meta jokes certainly distinguish The Matrix Resurrections from the original trilogy. But the screenplay – by Wachowski, David Mitchell, and Aleksander Hemon – can't sustain the playful ambiguity forever. Before long, the mystery is abandoned, and it's business as usual: Neo accepts that he's actually been lying unconscious in the far future, and that 21st-Century life as he knew it is a virtual-reality construct maintained by predatory machines.\u003C\u002Fp\u003E\n\u003Cp\u003EAfter that, Wachowski gets up to \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211207-the-matrix-and-the-sci-fi-stories-that-became-a-reality\"\u003Eher old Matrix tricks\u003C\u002Fa\u003E. In the ruined real world, there are gloomy underground cities, dingy industrial spaceships, robots with metal tentacles, and threadbare jumpers that you can't look at without feeling itchy. In the virtual-reality world, there are motorbike chases, noisy shoot-outs, and action set pieces in which people are either running up walls or throwing their opponents through them. And in both worlds, there are plenty of verbose speeches that are either profound or pretentious or a combination of both.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211215-film-review-the-matrix-resurrections-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The sunglasses have been updated, and the characters now have more tattoos, but those are the most significant advances","id":"culture\u002Farticle\u002F20211215-film-review-the-matrix-resurrections-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe film is still slick and stylish, with a scattering of provocative philosophical and political concepts, but considering that the franchise used to be synonymous with jaw-dropping innovation, much of The Matrix Resurrections is numbingly familiar. True, the sunglasses have been updated, and the characters now have more tattoos, but those are the most significant advances. The Matrix Reloaded and The Matrix Revolutions may have been pretty impenetrable, but even they had a visionary, boundary-pushing ambition which is lacking here.\u003C\u002Fp\u003E\n\u003Cp\u003EIt isn't just the familiarity that is disappointing, either. Much like such other nostalgia-laden sequels as \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20151216-film-review-star-wars-the-force-awakens-gets-four-stars\"\u003EStar Wars: The Force Awakens\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211118-ghostbusters-afterlife-is-nostalgia-killing-cinema\"\u003EGhostbusters: Afterlife\u003C\u002Fa\u003E, this one serves up all the signature ingredients, but none of them is quite as tasty as it was before. Perhaps The Matrix Reheated would have been a more suitable title. The fights are less coherent than they were in the first trilogy, the plot isn't as momentous or as urgent, the coats aren't as cool, and the characters aren't as memorable. Neo's main sidekick isn't Trinity but the blue-haired Bugs, played by Jessica Henwick; there is a dapper version of Morpheus played by Yahya Abdul-Mateen II; and there is a new incarnation of the evil Agent Smith, played by Jonathan Groff. All three young actors are talented and charismatic, but none of them is anywhere near as magnetic as Moss, Hugo Weaving and Laurence Fishburne were. Still, at least Moss gets a few scenes of her own. Weaving and Fishburne don't appear at all, except in snippets of archive footage. You only have to recall Weaving's unique, spine-tingling delivery of the words \"Mr Anderson\" to appreciate that, without him, The Matrix Resurrections was always going to be a low point in the series.\u003C\u002Fp\u003E\n\u003Cp\u003EDid Wachowski really make the film to stop anyone else doing it? Maybe not, but it's hard to discern any other compelling reason for this solid superhero movie to exist. It might have been better if she had left the latest Matrix sequel to someone else, after all.\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\u003EBBC Culture Film and TV Club\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\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"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-film-review-the-matrix-resurrections-2"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-12-21T16:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The Matrix Resurrections is 'numbingly familiar'","headlineShort":"How good is The Matrix 4?","image":["p0b69clb"],"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":"6183c2c945ceed0d2f73335b"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fhollywood"],"summaryLong":"The Matrix Resurrections is 'numbingly familiar', writes Nicholas Barber – lacking the ambition of its predecessors, the latest in the franchise is more like 'The Matrix Reheated'.","summaryShort":"The Matrix Resurrections is 'numbingly familiar'","tag":["tag\u002Fhollywood"],"textToSpeech":false,"creationDateTime":"2021-12-21T16:00:17.62534Z","entity":"article","guid":"c6d17bc2-23ce-4dcc-a783-684ab559ee81","id":"culture\u002Farticle\u002F20211215-film-review-the-matrix-resurrections","modifiedDateTime":"2021-12-21T16:42:45.094666Z","project":"culture","slug":"20211215-film-review-the-matrix-resurrections","cacheLastUpdated":1642294169519},"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear","_id":"61bfce9145ceed25085f89c1","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fdorian-lynskey"],"bodyIntro":"Adam McKay's star-filled apocalyptic disaster comedy is the latest in a centuries-old genre of fiction about threats from space, writes Dorian Lynskey.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESometimes publicity falls out of the sky. On 24 November, just a couple of weeks before Adam McKay's apocalyptic disaster comedy Don't Look Up opened in cinemas, \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fscience-environment-59327293\"\u003ENasa launched a spacecraft called Dart\u003C\u002Fa\u003E (Double Asteroid Redirection Test) to see if it could alter the trajectory of the moonlet Dimorphos. That particular chunk of rock turns out to be no danger to Earth. Not so the Everest-sized comet in Don't Look Up, which is only six months away at the beginning of the movie. With a cast led by Leonardo DiCaprio, Jennifer Lawrence and Meryl Streep, McKay's film is a striking example of what you might call \"impact fiction\", a diverse sub-genre of apocalyptic fiction that goes all the way back to Edgar Allen Poe and is currently enjoying (if enjoying is the right word) a major revival.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Cstrong\u003E\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210108-the-rise-of-apocalyptic-novels\"\u003EThe rise of apocalyptic novels\u003C\u002Fa\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Cstrong\u003E\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20170421-the-eerie-historical-visions-that-predict-the-apocalypse\"\u003EThe eerie visions that predict the apocalypse\u003C\u002Fa\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Cstrong\u003E\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200506-the-books-that-might-flourish-in-this-time-of-crisis\"\u003EBooks that flourish in times of crisis\u003C\u002Fa\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EComets and asteroids are interchangeable in impact fiction, and with good reason. Both are stray bits of rubble left over from the formation of the solar system. A comet is a globe of ice, rock, dust and gas, originating in the outer solar system. When comets pass the sun, they shed a trail of gas and debris, hence the tail: the Greek word \u003Cem\u003Ekometa\u003C\u002Fem\u003E means long-haired. An asteroid (meaning star-like) is a chunk of rock and minerals from the asteroid belt between Jupiter and Mars: no ice, no tail.\u003C\u002Fp\u003E\n\u003Cp\u003EDespite their differences, the effect of a significant collision with the Earth would be much the same, which is why all potentially dangerous bodies now come under the umbrella of Near-Earth Objects (NEOs). The largest impact event in recorded history is the 12-megaton aerial explosion near the Tunguska river in Siberia on 30 June 1908, but that was a pebble compared to the one that wiped out the dinosaurs in the Cretaceous-Paleogene (K-Pg) extinction event 66 million years ago. Studies of K-Pg, a six-to-nine-mile-wide object making landfall with an estimated force of 100 million megatons, indicate what a similar impact might look like.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bbqrj9"],"imageAlignment":"centre","imageAltText":"Don't Look Up","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFirst, the blast waves would level everything within a radius of several hundred miles while triggering earthquakes, tsunamis and volcanic eruptions. Worse, the impact would excavate a crater several miles deep, flinging billions of tons of rock, dust and sulphur halfway to the moon. Heavier objects would burn up on re-entering the atmosphere and create a lethal meteor shower, igniting firestorms. Smaller debris would form a thick, sun-blocking cloud around the planet, plunging it into a year-long \"impact winter\". Vegetation would perish within weeks and most animal life within months – if not from starvation then from sulfuric rain as corrosive as battery acid or UV radiation pouring through the shredded ozone layer. The Earth's surface would cease to sustain life.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Whatever moves in the heaven in an unusual way is certainly a sign of God’s wrath – Martin Luther","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ENasa calculates the annual odds of an impact equivalent to K-Pg as one in a million but, as the opening voiceover in Michael Bay's 1998 movie Armageddon dramatically puts it: \"It happened before. It will happen again. It's just a question of when?\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe rise of impact narratives\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe first asteroid, Ceres, wasn't discovered by telescope until 1801 but comets, which were first discovered in 1680, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20170421-the-eerie-historical-visions-that-predict-the-apocalypse\"\u003Ehave inspired superstition for centuries\u003C\u002Fa\u003E. Among other things, they were thought to bring plague and crop failure, and herald the overthrow of kings. \"Whatever moves in the heaven in an unusual way is certainly a sign of God's wrath,\" said Martin Luther in the 16th Century.\u003C\u002Fp\u003E\n\u003Cp\u003EThanks to the work of astronomer Edmond Halley, who had the famous comet named after him in 1758, comets became understood as a physical danger rather than a supernatural one, although Halley did try to reconcile his theories with Biblical scripture. He suggested in 1694 that the deluge in Genesis might have been caused by \"the casual Choc of a Comet, or other transient Body\". His contemporary William Whiston predicted that a similar comet would bring about the end of the world on 16 October 1736. At the end of the century, the French polymath Pierre-Simon Laplace observed: \"To the terrors which the apparition of comets then inspired succeeded the apprehension, that of the great number which traverse the planetary system in all directions, one of them might overturn the earth.\" Laplace wrote that the consequences of a collision would indeed be disastrous but that one was extremely unlikely.\u003C\u002Fp\u003E\n\u003Cp\u003EStill, the fear remained strong among the public. Edgar Allan Poe wrote his short story The Conversation of Eiros and Charmion in 1839, following agitation around the appearance of three comets – Biela's, Halley's and Encke's – in quick succession. In the story, the comet's tail first drains the nitrogen from Earth's atmosphere, throwing its inhabitants into a hyperoxygenated frenzy, before the nucleus hits: \"the whole incumbent mass of ether in which we existed burst at once into a species of intense flame… Thus ended all.\" Writing almost 150 years before the K-Pg event became common knowledge, Poe got the facts all wrong (a comet's nucleus is solid, not gaseous) but he did at least make the first stab at a scientifically plausible impact narrative.\u003C\u002Fp\u003E\n\u003Cp\u003EThe apocalyptic \u003Cem\u003Efin de siècle\u003C\u002Fem\u003E mood of the 1890s revived interest in NEOs. In 1894, the French astronomer Camille Flammarion published a speculative novel called La Fin du Monde, which is more a symposium than a story. Flammarion uses a comet as \"the pretext for the discussion of every possible phase of this great and important subject – the end of the world,\" though he stops short of delivering it.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bbqs9p"],"imageAlignment":"centre","imageAltText":"Flammarion","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFlammarion's novel was followed by HG Wells's short story The Star (1897), in which natural disasters and intense global heating caused by a comet's passage drive the surviving population to resettle in the newly verdant polar regions. With understanding of the \"impact winter\" some way off, it was assumed that the world would burn rather than freeze.\u003C\u002Fp\u003E\n\u003Cp\u003EThe Danish director August Blom made the first attempt to put a NEO collision on screen in his eerie 1916 movie The End of the World. The conceit of the film was inspired by the appearance of Halley's comet in 1910 but its mood reflected the revolutionary temper in Europe (Frank Stoll, a wealthy cad, dies after an angry mob of workers storms his decadent last-night party) and the horror of World War One: the meteor shower looks like a mortar bombardment while the shattered town into which one survivor emerges resembles any number of towns in France at the time.\u003C\u002Fp\u003E\n\u003Cp\u003EThe most influential impact narrative of the interwar years was When Worlds Collide by Edwin Balmer and Philip Wylie, serialised in 1932 and published in book form the following year. Balmer, the editor of Redbook magazine, had a talent for thrilling plots but no ability to execute them. He found the perfect collaborator in Wylie, an ambitious writer and keen amateur scientist. While working in Hollywood in the early 1930s, Wylie befriended atomic physicists at the California Institute of Technology, whom he later consulted on aspects of When Worlds Collide.\u003C\u002Fp\u003E\n\u003Cp\u003EThe novel opens with the terrible discovery that two planets have become detached from their own solar systems and are hurtling towards Earth. When Bronson A and Bronson B pass close by, they will cause untold damage. On their return, they will smash the planet to smithereens. Much of the novel is taken up with the construction of a rocket (called Noah's Ark) to transport a few hundred lucky survivors to Bronson B, which conveniently has a habitable atmosphere, but the most arresting chapters describe the ravages of the first pass in harrowing detail. Wylie's imagination for mass destruction surpassed even that of Wells.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bbqsn2"],"imageAlignment":"centre","imageAltText":"The End of the World","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EReading When Worlds Collide or watching the 1951 movie version, it's fascinating to see how many of the enduring tropes of impact stories were already in place: the shocking scientific discovery, the authorities alerted, the sadness and panic, the riots and looting, the hi-tech plan for survival, the reference to Noah, and the many forms of denial. \"The end of the world will never be really believed till it comes,\" says the scientific genius Cole Hendron.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"For most post-war writers, the cause of global annihilation would not be a freak intruder from outer space but the greed, malice and stupidity of mankind itself","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt's unclear whether the Austrian playwright Jura Soyfer had read When Worlds Collide before writing his 1936 play The End of the World but he certainly seems to be having fun with Balmer and Wylie's ideas. Soyfer, a 23-year-old Jewish Marxist in a country sliding towards war, saw the immense satirical potential of impact fiction. The play begins with the sun deciding that Earth needs to be cleansed of humanity and dispatching a comet to deliver the killer blow. A popular figure in impact fiction is the astronomer who identifies the threat but isn't believed. Soyfer's Cassandra is one Professor Peep, who struggles to get world leaders to heed his warnings. \"The comet is going to destroy everybody,\" Peep warns Hitler. \"Destroying everybody is my business,\" Hitler retorts. With just a week to go, Peep designs a machine that will divert the comet but an uptight bureaucrat instructs him to apply for a patent before seeking funding. All seems lost until the comet takes pity on humanity and veers away at the last moment.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EA real-world threat\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EImpact fiction receded after World War Two, for the obvious reason that the atom bomb permanently altered the course of apocalyptic fiction. In her 1965 essay The Imagination of Disaster, which does not even mention comets or asteroids, Susan Sontag attributes the power of post-war science fiction to the knowledge that \"collective incineration and extinction… could come at any time, virtually without warning\". For most post-war writers, the cause of global annihilation would not be a freak intruder from outer space but the greed, malice and stupidity of mankind itself. To this day, the bomb is how we measure impact (the comet in Don't Look Up is said to be equivalent to \"a billion Hiroshimas\") and how we think about preventing it. The possibility of deflecting or destroying a NEO with nuclear warheads was first mooted by the Massachusetts Institute of Technology's Project Icarus in 1967 and dramatised in the misleadingly titled 1979 Sean Connery movie Meteor.\u003C\u002Fp\u003E\n\u003Cp\u003EThe end of the Cold War coincided with a new seriousness about the threat of NEOs. In March 1989, the half-mile-wide asteroid 1989 FC came within 430,000 miles of Earth: the closest shave since 1942. The fact that astronomers didn't discover this until \u003Cem\u003Eafter\u003C\u002Fem\u003E it had passed by inspired the US Congress to fund a Nasa report into the tracking and interception of NEOs. It was named Spaceguard, after the early warning system in Rendezvous with Rama, a 1973 novel by Arthur C Clarke that is reportedly a new film project for \u003Ca href=\"https:\u002F\u002Fvariety.com\u002F2021\u002Ffilm\u002Fnews\u002Fdenis-villeneuve-rendezvous-with-rama-1235134136\u002F\"\u003EDune director Denis Villeneuve\u003C\u002Fa\u003E.\u003C\u002Fp\u003E\n\u003Cp\u003EBy the 1990s, it was widely accepted that an asteroid or comet impact had caused the extinction of the dinosaurs and the near-disaster at Tunguska. Space agencies had identified around 2,000 NEOs at least as wide as 1989 FC intersecting Earth's orbit. During negotiations for the Comprehensive Nuclear Test Ban Treaty in 1996, China argued that mankind needed to retain some nuclear weapons in case of an imminent asteroid.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bbs8mt"],"imageAlignment":"centre","imageAltText":"When Worlds Collide","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESo when Clarke published his novel The Hammer of God, about just such an effort, in 1993, he did not consider it merely science fiction. \"It was my duty to show what could be done about the asteroid menace,\" he wrote. \"By creating a self-fulfilling prophecy, I might even save the world – though I'd never know.\" The following year, 21 fragments of the comet Shoemaker-Levy 9 collided with Jupiter, giving NEO-watchers a preview of what one might do to us. One of the impacts was equivalent to six million megatons of TNT, creating a cloud of debris as wide as Earth.\u003C\u002Fp\u003E\n\u003Cp\u003ESteven Spielberg optioned The Hammer of God, which was then merged with When Worlds Collide to form the basis for the 1998 movie Deep Impact. Although neither novel was ultimately credited, their influence is undeniable. A comet is expected to cause an Extinction Level Event. The world's governments make plans to nuke it or, if that fails, to preserve a few thousand survivors in underground caves (\"Our new Noah's Ark,\" says the president) until the surface is habitable again. In reality, blowing up a NEO rather than deflecting it would be very risky, because it would likely create a fusillade of shrapnel. As Arthur C Clarke writes, \"Which is better – a single mega-catastrophe in one place, or hundreds of smaller ones?\"\u003C\u002Fp\u003E\n\u003Cp\u003EDeep Impact coincided with Armageddon, a similarly themed movie about the effort to stop an asteroid which is, absurdly, \"the size of Texas\": more than 100 times bigger than the K-T object. \"It's what we call a global killer,\" Billy Bob Thornton's Nasa executive tells the president. \"The end of mankind. Doesn't matter where it hits, nothing would survive, not even bacteria.\" It sounds like a brag.\u003C\u002Fp\u003E\n\u003Cp\u003EWhile both movies precede the ultimate success of a mission with enough failure to allow for spectacular CGI mayhem, their approaches could not be more different. Deep Impact is a deeply sentimental picture, primarily concerned with how a handful of individuals process doomsday. It is really about mortality and grief. Michael Bay doesn't care about any of that. Armageddon is a boy's own apocalypse: glib, bombastic, chauvinistic, and blithely uninterested in most of the world's population. Armageddon outperformed Deep Impact at the box office by more than $200m, which tells you a lot. It's obvious which one Don't Look Up's movie-within-a-movie, Total Destruction, is parodying with its tagline: \"When the asteroid hit us, he hit back.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bbqtk6"],"imageAlignment":"centre","imageAltText":"Deep Impact","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"The destruction of the world is a subject so engulfing that all it's good for is a cheap thrill,\" wrote Anthony Lane in his New Yorker review of Deep Impact. But many filmmakers would disagree. Those two blockbusters having exhausted viewers' appetite for astronautical derring-do, the past decade has seen several more sombre and intimate movies about what happens when all hope of averting catastrophe is lost. \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210512-is-melancholia-the-greatest-film-about-depression-ever-made\"\u003ELars Von Trier's Melancholia\u003C\u002Fa\u003E (2011) ends with the titular rogue planet obliterating Earth in breathtakingly beautiful fashion. \"This film is perilously close to the aesthetic of American mainstream films,\" \u003Ca href=\"https:\u002F\u002Fwww.dfi.dk\u002Fenglish\u002Fonly-redeeming-factor-world-ending\"\u003EVon Trier told an interviewer\u003C\u002Fa\u003E. \"The only redeeming factor about it, you might say, is that the world ends.\" Most recent impact fiction starts from the same conclusion.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EA bleak new wave\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ELorene Scafaria's Seeking a Friend for the End of the World (2012) somehow manages to summon a romantic comedy from this hopeless scenario. Opening with the failure of a deflection mission, it ignores scientists, politicians and astronauts to focus on ordinary people who can do nothing except decide how to spend their last days. The answer, of course, is: with someone you love. The following year's These Final Hours, written and directed by Zak Hilditch, explores the same idea to much less cheering effect. Despite their very different tones, both movies are road trips punctuated by suicides, orgiastic parties and delusional survivalists. Both conclude with two lovers swallowed up by a blaze of white as the end arrives.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-14"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The slow-motion apocalypse of climate change is the subtext of most 21st Century disaster narratives","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThese movies reject the insistence on survival and build-back-better rebirth in mainstream movies from Deep Impact and When Worlds Collide to 2019's The Wandering Earth, which is China's fifth highest-grossing movie ever, and 2020's Greenland. For Von Trier, Scafaria and Hilditch, the end is the point – and much cheaper than a space shuttle, too. This year alone, more than a century after Stoll's doomed bacchanal in The End of the World, How It Ends and Silent Night have also used the conceit of a last-night party.\u003C\u002Fp\u003E\n\u003Cp\u003EWhy are these stories so attractive to filmmakers? Impact fiction is flexible enough to accommodate multiple genres, from grave character study to black comedy to old-fashioned disaster movie. NEOs are also a growing real-world concern. After a meteor exploded over Chelyabinsk in Russia on 14 February 2013, Nasa began annual asteroid impact simulations. In 2015, a group of concerned scientists, astronauts and artists led by Stephen Hawking launched Asteroid Day, a UN-backed annual event on the anniversary of Tunguska, with the aim of rapidly accelerating the tracking of NEOs and research into interception strategies.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-16"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bbqtmn"],"imageAlignment":"centre","imageAltText":"Don't Look Up","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-17"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn fiction, though, a comet isn't just a comet. In the same way that post-war science fiction was always on some level about the bomb, the slow-motion apocalypse of climate change is the subtext of most 21st Century disaster narratives. Recent years have seen \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20190110-how-science-fiction-helps-readers-understand-climate-change\"\u003Ea boom in explicit \"cli-fi\" novels\u003C\u002Fa\u003E such as John Lanchester's The Wall and Jessie Greengrass's The High House, but the metaphor is hard at work in other \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210108-the-rise-of-apocalyptic-novels\"\u003Eend-of-the-world stories\u003C\u002Fa\u003E, from Rumaan Alam's Leave the World Behind to Emily St John Mandel's Station Eleven. Adam McKay has talked about looking for a means of making a movie about the climate crisis and settling on a comet as the perfect allegory.\u003C\u002Fp\u003E\n\u003Cp\u003EDon't Look Up, which comes to Netflix on Christmas Eve, is an unlikely cross between Deep Impact and Veep, combining broad satire with genuine anguish. The blacker the comedy, the better the movie gets. The three Professor Peep-like astronomers are familiar genre archetypes revived by a new context as their efforts to warn the world bang up against populist politicians, shallow broadcasters, hubristic tech gurus and online conspiracy theorists. You can also detect in McKay's plea to listen to scientists an unspoken critique of irrational and partisan responses to the pandemic: its comet-deniers literally refuse to look up. While a little too baggy and scattershot, Don't Look Up does politicise a genre which tends to avoid politics, and relocates the satirical energy to be found in people's struggles to take existential threats seriously.\u003C\u002Fp\u003E\n\u003Cp\u003EAs the hero of When Worlds Collide observes: \"They, and he, could not realise that the world was doomed, any more than a man could realise that he himself must die. Death is what happens to others! So other worlds may perish; but not ours, on which we stand!\" The bitingly pessimistic new wave of impact fiction compels us to consider the worst-case scenario and not just to look up but to look inwards.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EDon't Look Up is on Netflix from 24 December\u003C\u002Fem\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":"","id":"culture\u002Farticle\u002F20211215-dont-look-up-the-fiction-that-reflects-our-greatest-fear-18"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-12-20T00:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Don't Look Up: The stories that reflect our oldest fear","headlineShort":"Stories that reflect our oldest fear","image":["p0bbdp3q"],"imageAlignment":"centre","imageAltText":"","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. 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