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In films such as The War Game, Culloden and Punishment Park, Watkins pioneered the mock-documentary form and used it to make his historical dramas and up-to-the-minute dystopias all equally immediate and real
• Peter Watkins, Oscar-winning director of The War Game, dies aged 90
• Peter Watkins obituary
Dystopian, post-apocalyptic, mockumentary: these are common, even hackneyed genres in today’s movies and television. But when film-maker Peter Watkins deployed them in the 1960s, they were revolutionary, and Watkins himself was revolutionary as well – an English revolutionary, in fact, alive to the cruelty and iniquity of kings but also to that of people bent on decapitation. His cinema persistently asked questions about those in power, and what will happen when their power goes catastrophically wrong. An artist dedicated to challenging and upsetting, Watkins came from the dissenter tradition of uncompromising radicalism on screen and stage – the same tradition as Edward Bond, Ken Loach and Dennis Potter.
His enduringly brilliant and angry anti-nuclear drama The War Game was commissioned but then banned by the BBC in 1965. (It screened in cinemas, and was finally shown on television a couple of decades later.) It lasts just 47 minutes but viewers felt they had lived through a lifetime of fear. When I first saw it as a teenager at a CND meeting 15 years after it was made, it seemed as if I had entered a new era of disillusioned adulthood.
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© Photograph: Ronald Grant Archive
© Photograph: Ronald Grant Archive
© Photograph: Ronald Grant Archive
There’s a clarity about Mamdani’s message that stands in sharp contrast to most Democratic politicians
For someone who exudes positive energy and seldom stops smiling, Zohran Mamdani certainly does provoke a lot of negative reactions.
“He’s not who you think he is,” one TV ad glowered over gloomy images of the 34-year-old state assemblymember who is the clear frontrunner for New York City mayor. The ad doesn’t make clear precisely what the supposed disconnect is, but the tagline clearly is meant to give voters pause.
Margaret Sullivan is a Guardian US columnist covering US media, politics and culture.
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© Photograph: Heather Khalifa/AP
© Photograph: Heather Khalifa/AP
© Photograph: Heather Khalifa/AP
What starts as a compelling satire of the film industry turns into an unconvincing schlocky mess that even Fred Melamed can’t save
Not a bad idea for a Hollywood satire here – and there’s a cameo for renowned character turn Fred Melamed, whose appearance does however have the effect of exposing how callow everyone else is on screen. Much as I wanted to like this lo-fi production, which cheekily intersperses its modestly budgeted scenes with stock footage establishing shots of the city skyline, the movie kept slipping gears and – scene-by-scene – felt awkward and uncertainly performed, along with some audio issues on the soundtrack.
The setting is Los Angeles, and Dev (Matthew Sato) is a young wannabe screenwriter humiliatingly fired from his job as an executive’s assistant for hawking his script to his employer’s competitors, and his need to break into the biz becomes increasingly desperate. To the dismay of his longsuffering girlfriend Monica (Olivia Rouyre), Dev tries one last roll of the dice: he befriends Trip (Will Sennett), the rich screwup son of film producer Scott Lefkowitz (Melamed) – a big-hitter who is known for his ability to greenlight projects with a single phone call.
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© Photograph: no credit
© Photograph: no credit
© Photograph: no credit
Exams, dating, parenting … whatever life throws our way, there will be uncertainty and surprises. The sooner we accept that, the happier we will be
If we want to build a better life, we have to be able to not know. Does that sound confusing? Perhaps you don’t know what I’m talking about? Good! That’s great practice.
If you cannot tolerate not knowing, you run the risk of arranging your life so you can know everything (or at least try to), and you may end up sapping your existence of any spontaneity and joy. You don’t ever have the experience of exploring a new place and discovering something exciting, because you’ve already Googled it. And you don’t give a new relationship a chance to develop because you’ve already written that person off. You plan the life out of your life, and your only enjoyment comes from things working out exactly as you knew they would.
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© Composite: Guardian Design; MementoJpeg/Getty Images
© Composite: Guardian Design; MementoJpeg/Getty Images
© Composite: Guardian Design; MementoJpeg/Getty Images
When my son was growing up, his school recorder was the bane of my life. Now it’s what I reach for at the end of a hard day, rather than a glass of wine
I’m like a coiled spring after work. Shoulders tense, breath fast and shallow. Usually the sound of my laptop lid slamming shut would be followed by the squeak of a cork pulled from a bottle of red, the wine hastily sploshed into a glass, that first mouthful putting a much-needed full stop on the working day.
Then, a few months ago, I came across my now-adult son’s old school recorder in the attic. I idly blew into it, immediately transported back to the days it was the bane of my life – his daily practice a violent assault on my eardrums, the piercing shriek still reverberating through my head hours after he had gone to bed.
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© Photograph: Courtesy of Kelly Rose Bradford
© Photograph: Courtesy of Kelly Rose Bradford
© Photograph: Courtesy of Kelly Rose Bradford
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