Latest news with #HotMilk
Daily Mirror
4 days ago
- Entertainment
- Daily Mirror
Sex Education star looks worlds away from Netflix role in tense mystery thriller streaming soon
One of Sex Education's biggest breakout stars took on a very different role in a sun-soaked new drama coming to streaming soon Sex Education star Emma Mackey's latest cinematic role will be available to watch at home very soon. Best known for portraying Maeve Wiley in all four seasons of Netflix 's beloved comedy-drama, she has since appeared in major films like Barbie and Death on the Nile. Still currently in cinemas, her latest project sees her taking on her first leading role in a provocative and mysterious drama based on a Booker Prize nominated novel. Inspired by Deborah Levy's 2016 novel of the same name, Hot Milk follows Mackey as Sofia, a young woman whose mother, Rose (played by Fiona Shaw), has contracted an unknown illness that's left her wheelchair-bound. When the mother-daughter pair travel to a small Spanish seaside town to track down a physician with unusual methods who could hold the cure, Sofia finds herself drawn to an alluring traveller named Ingrid (Vicky Krieps). The film will be streaming on Mubi from Friday, 22nd August for anyone who missed out on Mackey's sultry and thought-provoking drama on the big screen. The Independent gave Hot Milk four stars, calling it "a slippery, subversive coming-of-age tale'. Mackey and Krieps were praised as 'formidable' in The Guardian, while Deadline says Shaw's performance is 'truly extraordinary'. One fan of the film gave it a five-star Google review, penning: 'Powerful performances set against dreamlike scenery where reality merges with imagination. 'Starts as a slow burn but builds into a heightened frenzy of complex sensations that is impossible not to sense as you witness each separate character's life unravel and deteriorate.' Someone else praised: 'Fever dream magic, great indie film if you like trippy movies, reminds me of I'm Thinking of Ending Things on Netflix.' Enthusiasm for the film continued on Letterboxd, where one user wrote: 'The pace was perfect. The score was stunning. 'The acting was incredible, Fiona Shaw is such a talented actor. Emma Mackey is just an unreal actress too. 'I felt as if she was speaking to me and I shall carry these words with me the rest of my life. This was a film I watched at the right time in my life. A film I didn't know I needed till I had seen it. I wish I had words to properly express how much I adore this film.' And a final fan said: 'Beautiful adaptation of the book, felt it in my soul - the story, the characters, the setting.... so moving and so real.' Film fanatics should make sure they sign up to Mubi to check out this indie cinema gem, and many more movie masterpieces, in just under a month's time. Hot Milk will be released Friday, 22nd August on Mubi.
Irish Independent
03-07-2025
- Entertainment
- Irish Independent
Hot Milk review: You can feel the heat radiating from this balmy, dream like film
Shaw is Rose, a woman who can't quite figure out why she is confined to a wheelchair. It might be a physical ailment – but it could just as easily be a psychological one. She flies to Spain to meet a pricey consultant and takes along her daughter Sofia (Emma Mackey), an anthropology student with nothing better to do. Sofia, as we'll learn, is stuck, and has had quite enough of her mother's daily nagging. Ingrid (Vicky Krieps), a spirited stranger on the beach, provides a taste of excitement, perhaps even a way out. A summer romance ensues, and Sofia is infatuated. Is the feeling mutual? Sometimes. You can practically feel the heat radiating from this balmy, dream-like feature from British filmmaker Rebecca Lenkiewicz. It's a beautiful-looking film, and our elegant leads deliver the goods. If only Hot Milk wasn't in such a hurry. Jumpy and jumbled, Lenkiewicz's drama is constantly interrupting itself and struggles to establish a cohesive rhythm. Mackey and Shaw deserve better.
RTÉ News
03-07-2025
- Entertainment
- RTÉ News
Fiona Shaw is every daughter's nightmare in Hot Milk
A heatwave in Europe coincides with the release of Fiona Shaw's latest, a film with plenty of sticky situations and snarkiness as the Sun does its thing - and you get the chance to hide out in a darkened room. We're in southern Spain as Rose (Shaw) and her daughter Sofia (Emma Mackey) travel to a clinic in the hope of a miracle cure. Rose "can walk perhaps once a year", has diagnoses galore, and observes a daily ritual of a mountain of pills. "Permanent student" Sofia - Rose's words - is her full-time carer and resents the best years slipping away as she caters to her mother's every need - while often taking her time about it. As Rose continues her treatment with the enigmatic Dr Gomez (Vincent Perez), Sofia meets free spirit Ingrid (Vicky Krieps) and catches a glimpse of a fresh start. Stage set, we wonder if Rose will achieve a breakthrough or if Sofia will have to resort to drastic measures to break free. This adaptation of Deborah Levy's Booker-nominated source novel marks the feature debut of playwright-director Rebecca Lenkiewicz. She couldn't have cast Hot Milk any better. In a change from the book, Rose is now an Irish woman, and Shaw brilliantly brings someone we've all encountered to big-screen life. Both tough and wide-eyed as Sofia, Mackey's work here shows she is one of the most interesting actors of her generation - presence in spades - and so deserving of greater career wattage. There's excellent support from Vicky Krieps and Vincent Perez as the new arrivals in the lives of Sofia and Rose, and we watch anxiously to see if they will deliver something more than hope or turn out to be chancers. Place your bets... With locations in Greece doubling for Spain and production taking place during a heatwave, Hot Milk casts a vibey spell that is temporarily broken with an unnecessary detour that sees Sofia travel to meet her estranged father. Thankfully, it's brief enough and we get back to the villa and environs to see how things will play out for Sofia and Rose. That ending, like the drink that gives the film its title, won't be to everyone's taste - some will love its suddenness while others will feel bemused. But hopefully, everyone will agree that watching Shaw and Mackey at work was worth every cent.
Daily Mirror
03-07-2025
- Entertainment
- Daily Mirror
Killing Eve star says playing 'controlling' mother in new film was 'easier'
Renowned Irish actress Fiona Shaw stars in Hot Milk, an adaptation of Deborah Levy's 2016 novel, as a mother with a mysterious illness, who is taken to a seaside Spanish town in search of a cure The distinguished Irish actress and TV Bafta laureate, Fiona Shaw, speaks about her immersion in her latest character, Rose, a mother beleaguered by an enigmatic illness, in the movie adaptation of Deborah Levy 's critically acclaimed 2016 novel 'Hot Milk'. Against the vivid setting of a sun-drenched Spanish summer, the plot unfolds as Rose and her daughter Sofia, portrayed by 'Sex Education' star Emma Mackey, journey to Almeria's picturesque seaside town seeking healing from a quirky local remedy man. Rose's life is dominated by an immobilising ailment, confining her to a wheelchair and riddled with unrelenting pain, rendering her utterly reliant on Sofia for even the simplest tasks such as venturing outside or fetching a drink. A growing sense of exasperation seeps into Sofia's character who pins her hopes on the exotic clinic to rejuvenate her mum's vigour, thus liberating her own aspirations for autonomy and independence. Shaw, celebrated for her portrayal of Carolyn Martens in the hit series 'Killing Eve', lauded her youthful co-star Emma Mackey, age 29, for crafting their characters' poignant relationship amidst strenuous circumstances. "I had the easier job – it's much easier to play the selfish person," Fiona Shaw candidly admits. "Emma had to decide, in each scene, how she would cope with her mother's behaviour – but the mother just continues on. She isn't thinking about the effects, and that's the problem," Shaw adds. She says: "They're not two people at loggerheads. I don't think the mother is at odds at all. She adores her daughter, wishes she wouldn't visit her father, and wants her to focus on her studies. "She can't see that she's the reason none of those things can happen properly. And that blindness is a nightmare for the other person – but Emma had to carry that. We would laugh about it, but she had to play the scenes. I just had to play Rose – she had to play the reception." As Sofia's story unfolds, her fascination with the adventurous Ingrid, portrayed by Phantom Thread star Vicky Krieps, leads her to break free from her mother's overbearing influence. Yet, as Sofia steps into her own, her mother's inability to cope with this change brings to light unsettling truths about Rose's condition. In her preparation for the role, Shaw delved into the complexities of psychosomatic disorders, where mental stress manifests physically, and consulted individuals who deal with such conditions. "We spoke to people with the syndrome – this tendency to not have any physiological reason why you can't walk, but you can't walk," Shaw shared. "This syndrome comes with pain and with a twitch. I really concentrated on trying to get the stuckness of the person – and I was helped a lot by using a wheelchair." The film Hot Milk marks Rebecca Lenkiewicz's first venture as a director at 57, and she fondly referred to Shaw and Mackey as "an inseparable couple" during filming. Renowned screenwriter Lenkiewicz, known for hits like Ida and Disobedience, described taking the reins as director for such a woman-centric narrative as "one of the most incredible experiences" of her life. The eagerly anticipated 'Hot Milk' hits UK and Ireland cinemas on Friday, July 4.
Scotsman
02-07-2025
- Entertainment
- Scotsman
Film Reviews: The Shrouds F1: The Movie
Sign up to our daily newsletter – Regular news stories and round-ups from around Scotland direct to your inbox Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... The Shrouds (15) ★★★★☆ F1 the Movie (12A) ★★★☆☆ Hot Milk (15) ★★☆☆☆ Diane Kruger and Vincent Cassel in David Cronenberg in The Shroud Even with a new generation of acolytes nipping at his heels, David Cronenberg still seems intent on breaking fresh ground when it comes to exploring the twisted relationship between the corporate and the corporeal. In the case of The Shrouds, though, 'fresh' is a relative term given the way necrotic flesh is baked into its very premise. Revolving around a new technology that enables the bereaved to grieve their deceased loved ones by live-streaming their rotting remains, the film opens with a character asking the question, 'How dark do you want to go?' and proceeds to answer it with an unsettling exploration of love, sex, death and grief in a culture where technology is consistently used to disrupt the natural order of things. Even with a new generation of acolytes nipping at his heels, David Cronenberg still seems intent on breaking fresh ground when it comes to exploring the twisted relationship between the corporate and the corporeal. In the case of The Shrouds, though, 'fresh' is a relative term given the way necrotic flesh is baked into its very premise. Revolving around a new technology that enables the bereaved to grieve their deceased loved ones by live-streaming their rotting remains, the film opens with a character asking the question, 'How dark do you want to go?' and proceeds to answer it with an unsettling exploration of love, sex, death and grief in a culture where technology is consistently used to disrupt the natural order of things. Advertisement Hide Ad Advertisement Hide Ad Vincent Cassel takes the lead as Cronenberg proxy Karsh, a director of industrial videos turned tech entrepreneur who has developed the aforementioned system in the wake of his beloved wife's painful death from breast cancer. The latter, played by Diane Kruger, appears in flashbacks that Cronenberg presents as eroticised dream sequences showing her disease-ravaged body slowly failing her. These sexualised memories are a source of comfort for Karsh, as are the high resolution thermal imaging scans of her interred body decomposing in the special video-and-software-equipped graveyard he's in the process of franchising. When Karsh spots some unusual nodes on his dead wife's skeleton, however, he becomes suspicious about the surgeon who operated on her – a suspicion fuelled by his paranoid sister-in-law, also played by Kruger, as well as by the subsequent targeted vandalism of his facility, including the hacking of his clients' (and his own) encrypted data. Brad Pitt as Sonny Hayes in F! The Movie. Picture: Scott Garfield/Warner Bros/Apple Here Cronenberg weaves in corporate conspiracy elements, a mischievous AI avatar (Kruger again), a twitchy tech nerd (Guy Pearce) and a lot of mordant humour to create the impression that The Shrouds is some kind of quasi biotech thriller. That the film doesn't satisfy as such, though, is perhaps the point. Ruminate on it for a while and these elements seem like intentional red herrings, a way of symbolising how culture avoids confronting the physical toll dying takes on the body — something the The Shrouds, in it's own gnarly and heightened way, certainly can't be accused of doing. In much the same way that the 1990 Tom Cruise NASCAR movie Days of Thunder was conceived and marketed as Top Gun on wheels, F1 the Movie is really Top Gun Maverick on wheels, just with Brad Pitt instead of Cruise in the driving seat. Sharing the same director (Joseph Kosinski), producer (Jerry Bruckheimer) and storyline, the film uses its Formula 1 backdrop to deliver a precision-engineered sports movie that hits every expected beat. Advertisement Hide Ad Advertisement Hide Ad Thus we have Pitt as Sonny Hayes, a one-time contemporary of Ayrton Senna who flamed out before fulfilling his potential and is now living an itinerant life as a remarkably well-preserved 60-something high-speed racing driver for hire. Drifting around the country like the motor racing equivalent of Jack Reacher or the Littlest Hobo, he's happy enough – until Javier Bardem's former colleague-turned-F1 Team owner Ruben rocks up in need of a gifted driver to help his financially troubled operation get some points on the board to avoid bankruptcy. Arriving at Silverstone full of cowboy swagger, Sonny immediately finds himself clashing with the team's fame-chasing, cocksure rookie, Joshua Pierce (Damson Idris), whose nose is out of joint at having an old-timer come in an steal his thunder. Kinetic action scenes and intergenerational conflict duly ensue, the former more entertaining than the latter thanks to Kosinski's talent for figuring out visceral, immersive shots over his somewhat limited ability to capture the nuances of human drama. That said Kerry Condon makes the most of a thinly written character to provide some spark as the team's lead engineer and love interest for Pitt. As undeniably thrilling as some of the race scenes are, though, the bloated two-and-a-half-hour runtime takes the film perilously close to replicating the tedium of watching an entire F1 race from start to finish. Emma Mackey and Vicky Krieps in Hot Milk Adapted from Debrah Levy's literary bestseller of the same name, Hot Milk is a fairly soporific drama about a young woman (Emma Mackey) finding herself while accompanying her wheelchair-bound mother (Fiona Shaw) to a Spanish clinic to get treatment for the possibly psychosomatic condition that's robbed her of the ability to walk for most of her life. Freighted with Freudian tension, the controlling mother-daughter relationship is – despite the best efforts of the cast – dully rendered. Ditto Mackey's character's exploration of her sexuality with a local seamstress who has a dark family secret of her own (she's played by Vicky Krieps). Indeed writer/director Rebecca Lenkiewicz struggles throughout to transpose Levy's rich text to the screen in visually arresting ways, building to a provocative ending that's not convincing in the least.
