approval - Jeremy C. Processing

Director – Alexandre O. Philippe – 2025 – UK – Cert. uncertificated – 76m

*****

An essential addition to the canon of work surrounding and helping audiences to understand the power of one of the cinema’s greatest works– out in UK cinemas on Friday, April 3rd

The opening black and white scene features actress Kim Novak, probably shot in the 1950s, as if through a peephole. This recalls Norman and his peephole in Psycho (Alfred Hitchcock, 1960). Novak here seems to know she is being watched, looks directly at the camera, then rolls her head so her eyes go into the darkness of shadow. Then, colour footage of present day, images that could be out of Spellbound (Hitchcock, 1945): a gate opening, a passage along a country roadway, a wooden memorial to someone. All this accompanied by the voice of Kim Novak, now in her twilight years, talking about her life on the soundtrack – her present difficulty in getting breath, how awful it must be to gasp for breath prior to dying.

All this has a Hitchcock connection. Novak is familiar to us from her twin roles in Vertigo (Hitchcock, 1958), the favourite film of director Philippe (and also, as it happens, of this critic) who specialises in documentaries about movies and made the definitive documentary about Psycho’s shower scene 78/52 (2017).… Read the rest

Hollywoodgate

Director – Ibrahim Nash’at – 2023 – US, Germany – Cert. 12a – 89m

****

A Western documentary shot with the approval of the Taliban showing the eponymous air base in which the Americans abandoned large stocks of military hardware – out in UK cinemas on Friday, August 16th

An extraordinary exercise in both journalism and historical, socio-political filmmaking. A few days after the US military pulled out of Afghanistan in 2021, fearless, former journalist Nash’at entered the country as, to all intents and purposes, a one-man film crew. At first, it was a fruitless exercise, but then he somehow managed to get in with a soldier about to be deployed on a big airport.

Negotiating with Afghanistan’s airforce to be allowed to shoot documentary footage, Nash’at secured himself permission to follow and shoot not just the lieutenant, M.J. Mukhtar, but also the new head of the airforce, Mawlawi Mansour, with the proviso that anything Nash’at was told not to film, he was not to film and anytime he was ordered to stop filming, he had to stop filming. Refusal to do either would have meant big trouble. He played along, shooting whatever he could without breaking the air force head’s trust, knowing that the Taliban would have no control whatsoever over the footage when he left the country to edit what he’d shot.… Read the rest