From F1 to Evita: your complete entertainment guide to the week ahead
M3gan 2.0Out nowHitting the sweet spot between camp value and genuine entertainment that's often surprisingly hard to manage in horror, the first M3ganGAN film saw a sassy artificially intelligent doll slay in both senses of the word. Now she's back for a sequel, facing off against Amelia, a new doll created by the military, who have clearly not learned the lessons of the first film.
From Hilde, With LoveOut nowBased on the lives of real members of the Red Orchestra anti-Nazi group, this harrowing but moving German drama follows a group of young people determined to do their bit to resist Hitler in wartime Germany. The focus is on Hilde and Hans Coppi, a young married couple, who are both arrested, with Hilde having to give birth to their baby in a Gestapo-run prison.
F1: the MovieOut nowA gifted professional comes out of retirement to mentor a promising young rookie: a tale as old as time, it's the classic sports film recipe. This time around, Brad Pitt plays the mentor and Damson Idris his protege, with Formula One racing taking the star role of the sport in question. Directed by Joseph Kosinski (Top Gun: Maverick).
Sudan, Remember UsOut nowIn this observational documentary, film-maker Hind Meddeb follows a group of young activists in Sudan, beginning in 2019 with a sit-in protest at the army's headquarters in Khartoum and bearing witness to the subsequent turbulence of the current civil war that would displace at least 12 million people breaks out. Catherine Bray
Radar festivalO2 Victoria Warehouse, Manchester, 4 to 6 JulyA showcase for 'progressive music', which in this context means rock but louder and more experimental, Radar festival returns to Manchester with a particularly stacked lineup. Headliners include genre-pushing punk duo Bob Vylan and US rockers Underøath, while extracurriculars include video game stations and masterclasses. Michael Cragg
Yazz AhmedTurner Sims, Southampton, 29 JuneBritish-Bahraini trumpeter Yazz Ahmed's mix of north African phrasing and American bebop jazz lines, electronica and funk has built her a unique contemporary global-musician's palette. She explores her autobiographical album A Paradise in the Hold and more with an A-list band including reeds star Tim Garland and vibraphonist Ralph Wyld. John Fordham
Zach BryanHyde Park, London, 28 & 29 JuneSince releasing his debut album in 2019, US military man turned country music superstar Zach Bryan has become one of the genre's biggest exports. These two outdoor shows, featuring support from the likes of Dermot Kennedy and Mt Joy, follow a recent run of singles trailing Bryan's forthcoming sixth album. MC
Les Indes GalantesThe Grange, Alton, Hampshire, 30 June, 1 & 2 JulyThe Grange festival saves by far the most interesting of this summer's three staged operas until last, as French baroque collides with hip-hop in a travelling production of Rameau's best known ballet héroique. It's conceived by director-choreographer and hip-hop pioneer Bintou Dembélé and conductor Leonardo García-Alarcón, for their respective ensembles. Andrew Clements
Kiefer/Van GoghRoyal Academy of Art, London, 28 June to 26 October
Anselm Kiefer is renowned for his grave, grand paintings and installations that refuse to let Germany forget its troubled history. His art of memory is even more urgent now as populist parties spread amnesia alongside nationalism. Here he explores his fascination with Van Gogh, with choice masterpieces by his hero.
William KentridgeYorkshire Sculpture Park, nr Wakefield, 28 June to 19 AprilNot many artists today have the wit or seriousness of this multifaceted South African film-maker, installationist, draughtsperson and, in this show, sculptor. Political commentary and historical vision interact in his work with an enthusiastic embrace of modern aesthetic traditions, from music to cinema, to create multilayered, moving art.
Richard RogersSir John Soane Museum, London, to 21 SeptemberImaginative, unexpected British architecture is on show here – and that's before you even reach this celebration of Rogers, master of the external escalator and ventilation shaft. The Soane Museum, all mirrors, crypts and dramatic lightwells, is the perfect setting for Rogers's work on the Pompidou Centre, Lloyd's building and more.
Movements for Staying AliveModern Art Oxford, 28 June to 7 SeptemberRadical body art from the 1960s onwards, by Yvonne Rainer, Ana Mendieta, Harold Offeh and more, can be seen in this exhibition but if you go to galleries just to 'see' and think about art, forget it. The curators want you to interact with it, and physically experience the show. Jonathan Jones
Sara PascoeWorthing, 28 June; Stevenage, 3 July; touring to 29 MarchFinally, a clever and highly relatable comedian really gets her teeth into the miserable drudgery of motherhood. In her new show, I Am a Strange Gloop, wrenches hilarity from sleep deprivation, bodily changes, endless housework and the learned helplessness of her husband. Expect catharsis, solidarity and a droll dissection of maternal sacrifice. Rachel Aroesti
EvitaThe London Palladium, to 6 SeptemberRachel Zegler makes her West End debut as Argentina's Eva Perón in director Jamie Lloyd's latest theatrical extravaganza. Zegler recently hit the headlines around her promotion of the film Snow White – here's a chance to let her performance do the talking. Miriam Gillinson
Jesus Christ SuperstarWatermill theatre, Bangor, Newbury, to 21 SeptemberWatermill's summer musicals have become an institution, spilling out into the theatre's idyllic grounds. Artistic director Paul Hart takes on Tim Rice and Andrew Lloyd Webber's explosive rock musical – with the actor-musician cast working their customary magic. MG
Ballet NightsGlasgow Theatre Royal, 4 JulyDancer turned impresario Jamiel Devernay-Laurence has been running regular gala-style shows in London under the Ballet Nights banner. Now he goes on the road with an eclectic lineup including a star turn from Royal Ballet principal Steven McRae, the clubby stylings of new duo Ekleido and a dance from the Prime Video series Étoile. Lyndsey Winship
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The SandmanNetflix, 3 July
The recent allegations made against graphic novelist Neil Gaiman, which he denies, mean this will likely be among the last adaptations of his work to reach the screen. If you can separate the art from the artist, prepare to luxuriate in the second series of the dark, dazzling fantasy, which revolves around Dream (Tom Sturridge) rebuilding his realm.
Such Brave GirlsBBC Three & iPlayer, 3 July, 10pmKat Sadler's wickedly funny and never remotely heartwarming sitcom returns for a second series, with Sadler's Josie and sister Billie (played by her real-life sibling Lizzie Davidson) still tiptoeing around their vituperative mother Deb (Louise Brealey) while desperately trying to source self-worth from unreciprocated love interests.
Storyville: The Srebrenica TapeBBC Four & iPlayer, 1 July, 10pmA single VHS lies at the heart of this film about the genocidal attack on Srebrenica during the Bosnian war. Made by an amateur film-maker who was eventually murdered alongside 8,000 other Muslims, the four-hour video was a record of local life addressed to his daughter, who here returns to the town to rediscover her early childhood.
7/7: Homegrown TerrorSky Documentaries & Now, 29 June, 9pmIt is 20 years since 52 were killed and 770 injured in the London terror attacks that refashioned the nation's psyche for ever. This documentary combines details of the day itself with testimony from those who knew the perpetrators in an attempt to shed light on why four Brits decided to bomb their homeland. RA
Tamagotchi PlazaOut now; Nintendo SwitchThe famous keychain virtual pets return once more in a sugar-coated shopping mall sim, where you run a range of shops while solving the problems of your cutesy customers. Apparently, there are more than 100 different tamagotchi to service, assist and even perform dentistry on.
Mecha BreakOut 1 July; PC, PS5, XboxOn an apocalyptic future Earth, teams of players face off against each other in various hyperstylish robot suits. Beta tests have proved hugely popular and the visuals are dazzling, but it's a free game with microtransactions, so all depends on how subtly (or otherwise) the monetisation is implemented. Keith Stuart
Lorde – VirginOut nowFollowing 2021's confounding, Zen-like comedown Solar Power, Lorde returns to knotty bangers with this fourth album. Co-created alongside Jim-E-Stack (Charli xcx, Haim) and Dan Nigro (Chappell Roan), Virgin picks over heartbreak with typical lyrical precision, as on pulsating lead single What Was That.
Katseye – Beautiful ChaosOut nowPut together via interactive reality show Dream Academy, six-piece girlband Katseye fuse the best bits of K-pop's gonzo style with 00s western pop, creating bonkers bangers such as viral hit Gnarly. That single appears on this new EP, the follow-up to last year's SIS (Soft Is Strong).
Kevin Abstract – BlushOut nowAfter calling time on his band Brockhampton in 2022, Abstract releases his fifth solo album, and first on his new label. Recorded in a house in Texas, complete with rooms packed with talent including the likes of Danny Brown, Sekou and Jpegmafia, it features the Dominic Fike-assisted, Beck-like Geezer.
Isabella Lovestory – VanityOut nowThe Honduran reggaeton practitioner continues her quest to forge a new kind of pop on this follow-up to 2022's debut, Amor Hardcore. On the luxe Gorgeous she channels glossy Y2K R&B, while the shape-shifting Putita Boutique seems to beam in from a club in space. MC
Liberty LostPodcastJournalist TJ Raphael's engrossing series speaks to previous residents of the Godparent Home at the Christian Liberty University in Lynchburg, Virginia, where unwed teen mothers are encouraged to give up their children for adoption to wealthy Christian families.
My Mum Loved This SongSubstackMusic writer Katie Thomas's joyous and deeply moving series sees fellow writers and artists explore the music that reminds them of their late loved ones, inspired by Katie's own mum, Jill, who died in 2020.
Bill Walton's The Grateful TeamBBC World Service, 28 June, 6.30pmExamining national identity in the wake of the fall of the Soviet Union, this charming series tells the improbable tale of how psych band the Grateful Dead helped Lithuania's basketball team compete in the 1992 Olympics. Ammar Kalia
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Daily Mail
17 minutes ago
- Daily Mail
Revealed: Why Max Verstappen SNUBBED Lewis Hamilton's F1 film after he 'refused' to take part in nightclub scene with Brad Pitt
Max Verstappen has admitted that he would prefer to stay at home and look after his two-month old baby rather than attend black tie events after he snubbed two premieres for Lewis Hamilton 's new F1 film. 'F1', which counts seven-time world champion Hamilton as an executive producer, was released on Wednesday amid fanfare from fans and drivers. Formula One stars were given a first glimpse of the movie, starring Brad Pitt and Damson Idris, in a private screening before the Monaco Grand Prix last month. The film's premiere in New York was attended by drivers Lando Norris, Ollie Bearmam, Nico Hulkenberg and Carlos Sainz. But Verstappen swerved both events and admitted he has not even watched the film yet, instead preferring to spend time looking after his newborn. The Red Bull driver welcomed his first child at the beginning of May with partner Kelly Piquet. The Dutchman, 27, told The Sun: 'Being authentic is not something I have to try and focus on. It's just who I am. 'I don't like to be on the red carpet and dress up in a suit. I don't like to interact with people that I don't really know, and have a fake smile and fake chat. It's horrible, I just don't enjoy it. 'I prefer to hang out with my friends and spend time with my little family. I also have a lot of other projects going on outside of F1. 'So any extra work like red carpets is not what I want to do. I'm at a stage of my career where I've achieved so much professionally. 'I'm just focusing outside of it now, like my big passions to make life more enjoyable and not just being performance driven.' 'With the nappies, some are more smelly than others!' The four-time world champion even declined to take part in an extra nightclub scene for the film with Brad Pitt. Other drivers took a greater interest in the movie. 'I'll just say, for the pure F1 fan, be open-minded to Hollywood films,' Williams driver Carlos Sainz said. Formula One teams were keen to help producers and granted the actors unprecedented access to their facilities. McLaren handed them access to their Woking headquarters while Williams allowed them to use their wind tunnel for four days. Silverstone was essentially rented out to film-makers for three months in summer 2023, leaving junior drivers unable to use the track. Hamilton's production company Dawn Apollo features in the opening credits and has been credited with playing a decisive role as he helped train Pitt and Idris in Formula 2 cars. Joseph Kosinski, who was behind Top Gun: Maverick, and directed the latest potential blockbuster, revealed ahead of the Canadian Grand Prix: 'Lewis was the first person I reached out to. 'I sent him an email and said, 'I want to make it as authentic as possible. Will you help me?' And luckily, Lewis said, 'Yes'. 'He was involved in all the technical details with fascinating advice. In Hungary, for instance, he said, 'If Brad's going to let someone pass during a blue flag and he wants it to be as tight as possible, he's only going to do that at turn six'. That kind of detail, I couldn't have gotten from anywhere else.'
BBC News
an hour ago
- BBC News
F1 The Movie: Damson Idris on driving at 180mph and looking cute
Getting ready for a role in a blockbuster film always has its challenges, but for Damson Idris, there was one thing he couldn't prepare for."How do I look cute when the wind is hitting me at 180mph?"The actor stars alongside Brad Pitt in F1: The Movie and had to spend months learning how to drive the racing cars before shooting. "We were really following the Grand Prix as it was happening," he tells 1Xtra's Nadia says driving on iconic tracks like Silverstone and Rockingham is an intense experience."You need to remember when you're driving those cars sometimes you're hitting 180mph. I was moving, it was fire," he says. "Then on top of that, you got to act within a movie, you've still got to try and look cute." Damson had some help from current F1 driver Sir Lewis Hamilton, one of the film's producers, who also has a cameo."When it comes to driving he really encouraged me," Damson says."He brought that energy on set that just reminded us of how authentic this movie is and that was always our goal - to make the most authentic racing movie of all time. "And Lewis is my brother as well so to see him getting his acting bag was so amazing to me." The film was released in the UK on Wednesday to generally positive reviews and marks a new era for 33-year-old, who grew up in Peckham, south London, had his breakout role in 2017 US crime drama Snowfall, which he says was overlooked by "mainstream awards".But he was recognised by organisations such as BET, NWACP and Mobo, which celebrate black artists in the entertainment industry."It's funny that every single award that the culture could give me, I won," he says. "We cleaned up there." 'I mean it's Brad Pitt' Transitioning to a major Hollywood role has been a long road for Damson but he says he never lost hope thanks to his mum. "The conversations she used to have with me my during my periods of rejection, she'd come in and give me these words and really educate me," he says."That knowledge of manifestation and acceptance makes you prepared for when it actually is a reality."One thing he wasn't prepared for though - spitting on his co-star Brad Pitt on says the confession, which he made during an interview on The Late Show with Stephen Colbert, has been following him around ever since."I never should have said it," he says."People are like: 'Bro you phlegmed on Brad Pitt?' I'm like: 'I never phlegmed'." He insists it was an accident."It was a little speck," says Damson. "But it was a speck too much, I mean it's Brad Pitt." Listen to Newsbeat live at 12:45 and 17:45 weekdays - or listen back here.
The Guardian
2 hours ago
- The Guardian
Less death, more social media: Formula One films decades apart reveal a changed world
'Let's try to get the season off to a good start, shall we? Drive the car. Don't try to stand it on its bloody ear.' Have you watched the movie? It's about a rule-breaking American Formula One driver, the kind who blows past blue flags and crashes into his own teammate. You must have heard of it. They shot it in real race cars, across some of the most prestigious circuits in the world. It even had contemporary world championship drivers making notable cameos on the track. If you've never watched 1966's Grand Prix, now is the time to do it. This summer's blockbuster slot may belong to F1; and its director, Joseph Kosinski, may have gone to extraordinary lengths to capture the visceral speed of the fastest class in motor sport. But John Frankenheimer got there first. The close parallels between the two films have gone largely unremarked in the reviews. Six decades ago, when the glamour of the sport was peaking, Frankenheimer set out to capture its thrill, daring and inescapable danger. He fixed cameras to the chassis of Formula Two cars – the same substitute Kosinski has used – that hared round Brands Hatch, Spa, Monaco. Like Kosinski, he spliced real race footage into his own. His American lead, James Garner, did his own driving, just like Brad Pitt. There are even occasional shots in Kosinski's film that seem to pay tribute, intentional or not, to its predecessor – the moment that recalls Frankenheimer's stylistic use of split-screen, or when Pitt jogs around the old Monza banking. F1 the Movie, to be clear, is a billion-dollar industry giving itself a full valet – shampooed squeaky clean and buffed to an impossible sheen. But it's also the kind of sports-washing I'm prepared to indulge for the sake of the pure adrenaline thrill. After watching Top Gun: Maverick at the cinema, I walked straight back in for the next screening and sat in the front row so I could pretend to be in the cockpit. At the Imax this week I was practically climbing into the screen. I was definitely the only woman my age leaning into the turns, and wishing they would stop cutting back to Pitt's face so that I got more track time. For a bit of perspective, I had gone with my father, a man with a decades-long following of motor sport and a habit of nitpicking at movie details. Ten minutes into F1's opening track sequence he leaned over, and I braced for a critique of the pit crew's refuelling technique. 'We can go home now,' he whispered. 'It's good enough already.' A movie that can impress my father with its motor racing action deserves all the hype it gets. But neither he nor I had anticipated just how much it would remind us of Grand Prix – or how well that 59-year-old work would stand up in comparison. The Silverstone marching band, paraded past the clubhouse by a moustachioed sergeant-major, has given way to night-race fireworks in Las Vegas, and the ruinous cost of running an F1 team has jumped from a few hundred thousand to £100m. The stomach-buzz as the asphalt whizzes beneath you remains the same. Putting the two stories side by side does, however, show you interesting ways the sport has changed. Grand Prix's opening lingers, fetishistically, over images of working pistons and twisting wrenches. Such lowly mechanical details are almost entirely absent in F1, where the team headquarters looks like a space station and every element of the engineering process is rendered in gleaming sci-fi. There's also a lot less death. Frankenheimer's crashes are genuinely shocking – not because the stunts are realistic (and they are) but because of the bluntness of their outcome. Drivers are catapulted from their seats to fall on whatever part of the landscape they meet first. Spectators aren't safe either. The fact that horrifying incidents are a part of the public's fascination with Formula One is a recurring theme. F1 still plays on the life-or-death stakes, but does it in a very different way, as you'd expect from a film licensed by the governing body as a big-screen advert for the sport. It's also pretty keen that everyone you meet on screen shows motor racing in a good light. Team principals are loving family men! Drivers' managers are cuddly BFFs! People cycle eco-consciously to work! Everyone is so empathic and good at giving advice! It was the latter that had me balking at the chutzpah. There's a point where our hero tells the rookie to stop thinking about his social media. The hype, the fan engagement – 'it's all just noise,' he says. This in a movie that was produced, at phenomenal cost, as a method of growing hype and fan engagement. The film's only baddy, meanwhile, is a corporate investor, who we know must be a bad 'un because he spends his time schmoozing The Money in hospitality. Here's a game for you when you're watching F1: try to go two minutes without seeing or hearing the name of a brand that's paid to be there. I left the auditorium still blinking the name of accountancy software. By contrast, Frankenheimer's film seems bracingly honest. In Grand Prix, the drivers may have moments of self-reflection but they're also uncompromisingly selfish in their pursuit. The philosophical Frenchman Jean-Pierre Sarti suggests they live in denial: 'To do something very dangerous requires a certain absence of imagination.' 'Why do we do it? Why not tennis, or golf?' It's the question at the centre of every motor-racing film. In Le Mans, Steve McQueen answered by stripping out everything but the sound and feel of the track. F1's hero describes the feeling when he's 'flying' (not for nothing does he arrive walking down the tarmac, carrying a duffel like a certain fighter pilot). Perhaps that's what makes motor racing ripe for big-screen treatment – it's the most literally escapist form of sport there is. If F1 gives it the glossy treatment, Grand Prix sees beneath the sheen.
