‘Bobi Wine: Ghetto President’ Review: A Ugandan Pop Star Fights the Power

Guy Lodge Film Critic At the height of his career, Czech-born composer Josef Mysliveček was the most prolific and sought-after figure in Italian opera, bound for immortal celebrity. Nearly three centuries later, his name isn’t forgotten to classical music scholars, but neither does it have anything approaching household status; the facts and records of his personal life, meanwhile, have largely been lost to history. Via a blend of free narrative speculation and exacting musical presentation, Petr Vaclav’s stately, sumptuous biopic “Il Boemo” seeks to restore a degree of iconic status to a talent latterly overshadowed by relative 18th-century contemporaries, albeit not with much swagger or modernity of its own: This is costume drama of a traditional, ornately brocaded stripe, a classical music lesson for classicists.

Guy Lodge Film Critic In the little-remembered 1950 noir “The Damned Don’t Cry,” Joan Crawford plays a Texan housewife whose grief for her late son spurs her to make a new life for herself in the urban underworld. Fyzal Boulifa’s exquisite new film of the same title is named expressly for that Crawford vehicle, but is neither a remake nor a direct homage. Rather, it remixes the narrative components of that film and others of its ilk into the kind of new-school-old-school heart-tugger — one might say tearjerker if its characters weren’t, true to its title, stoically dry-eyed throughout — that might have been designed for the shoulder-padded diva were she alive in 2022 and, perhaps more crucially, of Moroccan heritage. 

. Earlier this week, her . Now the Uncut Gems actor has graced us with an all-leather ensemble that manages to make her underwear the star. Fox was spotted in New York City on Tuesday, September 13 in all-black leather.

SM Entertainment for his upcoming New York Fashion Week showcase.Set to take place on September 13 (local time), Do’s upcoming Spring/Summer 2023 New York Fashion Week show will be opened by NCT member Jeno, who is best known for being a part of its NCT Dream subunit. This will mark the first time a K-pop star has opened a NYFW runway show.“It was a natural choice to have Jeno open the show. Jeno embodies the Peter Do man – multifaceted, confident, and a trailblazer,” said Do in a press release, sharing his motivation behind the decision.“Few realise the intensity of what is happening behind the scenes to achieve the end product; it’s very similar to fashion so I identify with that process very much,” he added.Do’s new collection revolves around the theme of time, teased with personalised invitations that take the form of a memory box developed by the designer in collaboration with SM Entertainment.Contained in a cookie tin, its contents comprise various items representative of Do’s life.

good nurse: attentive in her job, loving towards her children, eager to please. She’s also suffering from a heart condition; blood blisters have formed on her ventricles, and she requires a heart transplant sooner than later.

First a little warning. I had the good fortune to see The Good Nurse knowing absolutely nothing about it except it was a Netflix movie starring Jessica Chastain and Eddie Redmayne. I had no idea which one was even ‘the good nurse’ of the title, and I was not familiar with the book it is based on, or even the fact it is actually a true story. For all I knew it was like a female version of Freddie Highmore in The Good Doctor. Netflix set up a screening for me at a local screening room. I sat by myself for two hours stunned by what I was seeing slowly take place, a turn of events I did not see coming as I realized I had the same experience in some ways as a viewer as Chastain’s character, Amy Loughren had in real life.

Moses Bwayo and Christopher Sharp’s documentary “Bobi Wine: Ghetto President” is a feat of cinematic journalism that captures a tumultuous timeline of events while keeping the focus on its titular subject. Going by the stage name Bobi Wine, Robert Kyagulanyi Ssentamu is a wildly popular singer in Uganda who is voted into office and becomes a major figure in the political party that opposes its president, General Yoweri Museveni.

Guy Lodge Film Critic If you found yourself wide awake in the wee small hours with personal demons rattling in your brain, and you picked up the phone to share them with a patient, neutral stranger, Tessa Thompson’s measured, calming voice is more or less exactly what you’d hope to hear on the other end of the line. As Beth, a night-shift volunteer for a crisis helpline, the actor’s naturally gentle, benevolent presence is the chief asset of Steve Buscemi’s minor-key chamber drama “The Listener” — not that she has a host of elements to compete with in what amounts, on screen at least, to a one-woman show.  Thompson’s unforced credibility isn’t shared, however, by a flat, superficial script that treats an assortment of mental health ailments as quirky conversation fuel. Each anguished call that Beth takes, over the course of one long, dark night of assorted souls, is written less like a recognizable human exchange than as an actor’s heightened audition piece, and played out as such by a voice-only ensemble stacked with distractingly recognizable names. Though the global pandemic is only incidentally mentioned, “The Listener” plays in all aspects like a project conceived in the most self-searching and self-indulgent depths of the isolation era. It’s hard to imagine audiences wanting to enter that headspace now.

Guy Lodge Film Critic At the 1987 Conservative Party Conference in Britain, then Prime Minister Margaret Thatcher issued one of the most grimly memorable quotes of her career: “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” For many of us, it’s a line that now sounds so archaically out of step with contemporary life as to be comical — that “inalienable right” wording ironically appropriated by many a queer-rights cause — though you need only look at Florida’s recent Don’t Say Gay bill to know that Thatcher’s sentiments live among us still. A frank, piercing debut from British writer-director Georgia Oakley, “Blue Jean” is a Thatcher-era period piece that crisply evokes that climate of politically propagated homophobia without preserving it in amber: It effectively puts the past in tacit dialogue with the present.

Guy Lodge Film Critic Not many films hit an emotional crescendo around the publication of a Pitchfork review, but Bill Pohlad’s “Dreamin’ Wild” is sufficiently sincere and embedded in musical nerdery to make it work. As onetime brother act Donnie and Joe Emerson huddle with their family around a 30-years-late evaluation of the album they recorded as teenagers, one particular critical reference sends them giddily reeling: “To twist a Brian Wilson phrase,” it reads, “[the album] is a godlike symphony to teenhood.” For fortysomething Donnie, who has spent his whole adult life scrambling for anyone to listen to his music — let alone love it — the mere mention of his musical hero in relation to his work is a crowning triumph: Donnie, as played by a typically disheveled, downcast Casey Affleck, looks briefly, guardedly happy for a moment, and this often melancholic film is suddenly suffused with well-being.

Nurses are supposed to make sure their patients are comfortable and well-taken care of. But what if that kindly nurse, who you expect to do what’s best, is actually trying to kill you? That’s the question that is asked in the new Netflix thriller, “The Good Nurse.” As seen in the trailer for “The Good Nurse,” the film follows the astonishing true story of a nurse who is suspected of poisoning his patients, leading to their untimely deaths.

Guy Lodge Film Critic Gianni Amelio was in his late sixties when he came out as gay a few years ago. The announcement preceded the release of his documentary “Happy to Be Different,” which worked toward an overriding sunniness in contemplating the trials and challenges of being gay in Italy at various points in the 20th century. In turning to a gay-themed narrative project, Amelio narrows the focus and dims the mood: “Lord of the Ants” takes as its subject the gay Italian author Aldo Braibanti, and the social and legal opposition he faced over his sexuality in mid-1960s Rome. Solemn, stately and perhaps a little stifled, it’s the kind of queer statement you might expect from a veteran filmmaker who wasn’t until relatively recently out and proud, and is rather poignant for that.

"Yungblud is a sub-culture, if you think it's not at this point, you're ignorant."

Guy Lodge Film Critic Even the most solidly founded of marriages can be strained and shattered by the death of a child. For handsome, wholesome Japanese couple Taeko and Jiro, however, that tragedy shows up all the fault lines that were already in their young relationship, and that’s before living ghosts of the past show up for both partners. Koji Fukada’s “Love Life” unabashedly embraces melodramatic contrivance in its examination of modern middle-class love tested as much by social prejudices as by personal demons; it just does so with such pallid, polite reserve that its sentimentality never becomes transcendently moving. As such, this agreeable but overlong pic finds the Japanese writer-director still struggling to regain the form of his jolting 2016 Cannes prizewinner “Harmonium.”

Guy Lodge Film Critic Friendships can be as changeable and temperamental and outright dramatic as grand romances, though they tend to get a bland rap on screen — with friends, for most screenwriters, merely convenient constants, there to support protagonists through matters of supposedly more consequence. If substantial platonic relationship studies are rare, ones about men are rarer still. And if that comes down to a social convention rather than a cinematic one, that’s integral to the power and poignancy of Martin McDonagh’s searing “The Banshees of Inisherin,” a film that traces the tortured breakup between two best pals in remote rural Ireland with all the anguish and gravity of the most charged romantic melodrama — its high, unleashed emotions all the more startling in a world where men don’t speak their feelings.

Guy Lodge Film Critic “L’Immensità” is director Emanuele Crialese’s first feature film in 11 years, and only his fifth in a quarter-century: The gifted Italian, best known to international audiences for his splendid, richly felt Ellis Island immigrant saga “Golden Door,” has never been one for unconsidered or impersonal projects. At first glance, then, one might wonder what drew him out of hibernation for a film that, with its trim runtime and small-scale domestic narrative, belies a title that translates as “immensity.” This 1970s-set story of a 12-year-old navigating his gender identity while his mother battles mental health demons is too palpably pained and heartfelt to be called slight, but it’s sensitive and peculiar in ways that feel fragile — occasionally splintered and swamped by an elaborate setpiece, or the outsize star magnetism of arguably its secondary lead, one Penélope Cruz. 

Guy Lodge Film Critic While waiting to pick up five-year-old Leila from judo practice, personable 40-ish schoolteacher Rachel introduces herself to another parent as Leila’s stepmom, before backtracking to awkwardly correct herself. Later, when a kindly stranger on a train remarks on the resemblance between the two, Rachel doesn’t bother clarifying, merely accepting the benign compliment. Her relationship to Leila is both unremarkably simple and complicated by an absence of clear language for it: She’s dating the girl’s father, and the attachment between woman and child has grown perhaps stronger than the relationship on which it depends. It’s the kind of delicate everyday situation that rarely occupies the centre of a film, and in the superb “Other People’s Children,” writer-director Rebecca Zlotowski negotiates it with warm intelligence and compassion.

Guy Lodge Film Critic Rather like the arc of the moral universe, “Argentina, 1985” is long, but bends toward justice. Effectively dramatizing the country’s landmark Trial of the Juntas, history’s first instance of a civilian justice system convicting a military dictatorship, Santiago Mitre’s broad, sprawling, heart-on-sleeve courtroom saga may draw from the same nightmarish period of history that has informed much of Argentine cinema’s most essential, haunting works — from 1985’s Oscar-winning “The Official Story” to last year’s “Azor” — but eschews any subtle arthouse stylings for a storytelling sensibility as robustly populist as anything by Sorkin or Spielberg. Small wonder, then, that Amazon Studios has boarded a film clearly aiming to be both a domestic smash and an international crossover hit — buoyed by the reliable star power of Ricardo Darín, his signature suaveness tempered by a walrus mustache and boxy ‘80s frames as Julio Strassera, the dogged prosecutor who took on this charged, against-the-odds case. Though a warmly received premiere in competition at Venice will set it on the right path, “Argentina, 1985” is, appropriately enough, a people’s film about people’s justice, balancing tear-jerking historical catharsis with touches of droll domestic comedy, and set to draw crowds on enthusiastic word of mouth.