Category: Reviews

By Edward Bayliss

The Phillipou brothers seem to be the next sibling duo to stamp their seal on the cinematic landscape of the 2020s with the release of their film Talk to Me, made available to the public this summer just gone. An A24 horror film that follows an increasingly esteemed pedigree from the same producers, Talk to Me offers challenging takes on the nature of the supernatural object (in this case an embalmed hand) and its teenage users. I apply the word ‘users’ here because this ceramic hand is presented as an article of obsession for the characters who take turns to enjoy its terrifying ecstasy of possession, all while filming it behind mobile phones. That is until the central character played by Sophie Wilde (embodying brilliantly the dizzying psychologies of childhood grief) believes she has contacted her dead mother through the ‘hand’ and unwittingly unleashes a paranormal presence.

Cue the inevitable line: ‘What if we opened the door but didn’t shut it?’

What follows is an effort spearheaded by Wilde’s character to amend the rift with the parasitic spirits of limbo, while peeling back the mystery surrounding the circumstances of her mother’s death. 

This film seems to be cut from the same cloth as The Babadook (2014), a fellow Australian production whose crew involved many of the same that are present in Talk to Me. Despite relatively low budgets, both films explore their respective objects of horror (the Babadook book & the embalmed hand) with a shrewd eye. 

The embalmed hand itself is a great object of cinematic invention. Unlike the doll of The Conjuring, or the blood stained hockey mask of Friday the Thirteenth, the hand has an implicit dexterity, angularity, and importantly, a grip; all of which give it an impression of uneasiness. It is white with graffiti all over, displaying its use over the ages by similarly curious teens. There is no heavy-handed discussion of the object’s backstory, and no such origin is questioned in any detail by any of the characters. We are told it is the hand of a medium, that’s it – the rest isn’t important to the plot so isn’t worth dissecting to a tedious degree, allowing for a good pacing and continuation of plot in real time. 

A great supporting cast convey convincingly the stubbornness and unforgiving nature of the contemporary teenager navigating relationships at a tricky time in life. They cover most archetypes of the college character, from shy misfits to smug socialites, albeit in a sensitive and reasonable fashion. The characters behave plausibly, while also allowing for decent plot development. Additionally, it must be said that the Phillipou brothers have their fingers on the pulse when they enjoy the strap-line, ‘Possession Goes Viral’, as they capture our era of internet crazes and trends in this absurdly horrific iteration of the phenomenon. 

The camera is at its most ‘involved’ in the possession scenes which punctuate the film with regularity. The lens flings itself with the possessed subjects, rotating and jolting as we the observers participate in the rituals with the teens. There is one very clever match-cut wherein our perceptions of horizontal and lateral plains are completely messed with by the camera work as the main character moves seamlessly from reality to her possessed state. Prosthetic effects are used with a potency that will satisfy any gore enthusiast, mainly thanks to a really ‘head banging’ scene relatively early in the film’s run time. 

Having not gone too far into the ins and outs of plot, the film does have a tangible and satisfying narrative; it begins with a flashback scene and returns there to embellish it later, suitably connecting the threads. The ending, however, is the exceptionally gripping moment in the drama which will stay with you for some time. Interviews reveal that the directors were sure that the horror would conclude with this twist regardless of what preceded it – I think this says something of its gravity. 

Talk to Me has enjoyed some celebrity among the releases of the year so far, and I’m not surprised. It brushes broad strokes across horror history – inviting us into the age old traditions of the candlelit séance and the cursed object all through the zeitgeist lens of the Phillipou pair. This feature directorial debut is one to watch. 

By Cosmo Adair.

Hitherto, the television has had little to say about Weimar Germany. Given the period’s well-recognised influence on film (The Cabinet of Dr. Caligari, Metropolis, etc.), this is somewhat surprising. Especially since it’s such a beguiling period, abounding in themes and tensions of significant artistic promise: be that the sheer decadence of the nightlife, the Cabarets and the Avant Garde; or else the pervasive angst, shellshocks, and nostalgia all evoked by the pernicious ghosts of the Second Reich and the Great War, and then the umbrella under which each of these exists in the historical imagination — what we now perceive to be the Nazi Party’s inevitable rise to power. To exist in that period was to follow a frantic compass with a myriad of poles — the Social Democrats, the Communists, the Freikorps, the Stab-in-the-Back, the Nazis, the Imperial Nostalgics, straight Conservatism, and apathetic decadence. Each of these, it seemed at the time, had a claim on the narrative — but only one of them prevailed. 

But now, courtesy of Sky Deutschland, it’s finally on our screens in all its excess, dirt, and beauty, its violence, anxiety and utter joie de vivre. Let me present to you, Babylon Berlin, the highest budget show in the history of German Television and at the time of its first release in 2017, the highest outside of the English speaking world. It should have been financial suicide; it came before the subtitle-craze, which can — I propose— be traced back to Alfonso Cuaron’s 2018 Roma, and its list of Oscar nominations. It not only led the subtitle-craze, but also became the cornerstone of a surge in the English-speaking world’s interest in German film and television: which has climaxed now with All Quiet on the Western Front, which has swept through this awards season like the blitzkrieg. 

The protagonist of Tom Tykwer’s glitzy adaptation of Volker Kutscher’s detective novels is Gereon Rath (played by Volker Bruch). Part of his success as a character is that he’s a bit of an Everyman figure — not in himself, overly interesting. Gereon is probably upper-Middle-Class; he’s a detective, but his father’s a politician. His politics seem to lie somewhere in between the Social Democrat and the Conservative. Crucially, he is shell-shocked, which means that from the very beginning of the series, the social effects of the Great War loom over. 

In Gyorgy Lukacs’ theoretical work The Historical Novel, he insists that it’s ‘everyman’ roles like this which ensure an effective historical reconstruction: such characters, who interact with everyone aren’t overly intrusive, are capable of “presenting the totality of certain transitional stages of history.” Such characters become centres around which things happen, without forcing their own interpretations onto the reader or, in this case, the audience. This is certainly true of Gereon, and it’s why the plot is so successful. 

His female co-star, Charlotte Ritter (played by Liv Lisa Fries) is a much more beguiling character: a prostitute and police-copyist, turned detective, who adores Berlin’s infamous nightlife as well as solving crimes. Fries performs with gusto — and, I dare say, is the series’ most talented actor. She has a wonderful, affectedly naive pout and innocently flirtatious manner, which not infrequently helps her gain inside knowledge and get out of trouble. That Charlotte could have been a prostitute and become a police detective seems to show how, in Weimar Berlin, such things were perfectly normal and had very little stigma attached. 

Herein lies Babylon Berlin’s effectiveness. It never feels as if it has a political point to score or a moral judgement to make on the past. There’s no tedious alignment of contemporary Populism to the Nazis, and none of the characters are so prescient as to foresee the mortal danger that the rise of the Nazis poses until it’s too late. In the first season, Hitler is mentioned only twice; the perceived danger is the Communists, something which blindsides many in the Establishment from the threat of the Nazis. But the Nazi presence rises and with such subtlety that we hardly notice it. By Season 4, set in 1930, they’re noisy and unavoidable; even when they’re off-screen, their presence is unavoidable. This is how it probably felt at the time. Equally, the series shows how decent people can be swept up by the Nazi influence: be that in the form of Fred Jacoby, the homosexual Journalist, or Gereon’s nephew, Moritz. Fred needs work, having been laid off after the Wall Street Crash, and the Nazi paper is the only one doing well at the time. Of course, we all say that we prioritise our values over everything else; but when the reality of money and living come into play, how many of us would, really, stay true to them? And then, in the case of Moritz, we see how to a young boy, whose father had died in the Great War, the camaraderie and excitement of the Hitler Youth’s Dangerous Book for Boys style of indoctrination appeared to be much more exciting than anything else on offer. 

It’s an excellent show. It’s informative in a way that so many historical dramas aren’t. It reconstructs an entire society—and the audience, somewhat voyeuristically, can watch this world unfold whilst fully aware of what happened. Which is perhaps what gives it its unique atmosphere. And, to the lazy TV-viewer (hands in pants, scrolling on their phone, eating crisps etc. — which can sometimes be, I hate to confess it, me), watching something in Subtitles means you can’t afford to lose concentration. 

By Ed Osborne.

I asked Lord Emu about their new album at their last gig on Sunday 29^th January. They told me it wasn’t finished, and they didn’t know when it would be ready to be released, but two days later, on the 31^st, it was out on Bandcamp.

Either their producer pulled an all-nighter, or the band were being sneaky and deliberately playing down the hype. Whichever it was, I don’t mind – I’m just happy to be able to listen. The Rocking Horse Sessions is a collection of demos recorded live at the (sadly soon to be demolished) Rocking Horse rehearsal rooms, and – so they tell me – a precursor to a full studio album. You might have heard a few of these 8 songs if you attended our collaborative event with DH1 Records, which the 4-piece headlined. In my write-up of that night I praised the chemistry and showmanship of their live set, and this album reiterates why they are some of the most entertaining performers in Durham.  

In recording all 8 songs live and releasing them without any fanfare or social media marketing, Lord Emu have played to their strengths as a popular live band amongst Durham’s music scene, whilst managing to avoid layering the songs with too many studio effects that might have spoiled their magic. Despite the straightforward instrumentation (guitar, bass, drums, and the occasional piano) and the recording equipment used, The Rocking Horse Sessions sounds professional – every instrument has its place within the song, the mixing is beautifully clear, without the crowding of endless overdubbed guitars, and the backing vocals add another layer without ever becoming cliché. And that is without even talking about the songs themselves.

Every riff, every chord, every hit of the drums, is relentlessly in-time, something incredibly hard to do when recording entirely live. There’s no doubt that a good deal of the songs’ cohesiveness is down to Luke Pocock’s drumming; I can’t imagine the hours of rehearsal it took to get everything sounding so tight. Despite this, each title is followed by ‘(live demo)’, as if Lord Emu are modestly understating what they’ve accomplished on this album; songs like ‘More than a Meditation’ don’t sound like a live demo, they sound like something you’d hear on rock radio or a festival stage. The song is my personal favourite from the album, with an earworm guitar riff that hasn’t left my head for weeks. After the halfway mark, the band switch from a catchy alternative rock song to a fast-paced heavier instrumental, which revolves around George Brown’s virtuoso guitar riffs. I think it would’ve been more interesting to see them build off the existing motif, but when the song still sounds this good I can’t really complain.

George Brown’s valuable presence is felt on the rest of the album too; as well as intricate solos, his keyboard playing adds another dimension to the band which lets them explore even more genres. The recordings have also shone a spotlight on vocalist/guitarist Dillon Blevins’ unique voice, which is sometimes hard to hear amidst the distorted guitars and furious drumming of their live sets. Their vocals on glam-inspired tracks like ‘The Glass People’ and ‘Afraid To Go Home’ have traces of David Bowie’s early melodramatic inflection, and can shift to a tuneful and powerful falsetto at any moment. Elsewhere, on the album’s heavier punk songs, his voice has a raspy, full-bodied quality which matches the rest of the band’s energy – ‘The Scoundrel Express’ and ‘In Your Corner’ sound just as frenetic here as they do live.

Despite the overall strength of the album, Lord Emu saved the best till last. ‘Uninspired’ is a 7-minute amalgamation of genres, beginning as a riff-heavy metal song before switching to a more contemplative bridge that builds into another excellent guitar solo – a transition that reminds me of ‘Free Bird’. As the solo gets more chaotic the drums shift to match it, and eventually all instruments give way to a melancholy piano and a power-ballad final chorus where Dillon gives one of his best vocal performances, lamenting the difficulties that come with creativity. I wish I was as ‘uninspired’ as this.

Lord Emu’s debut album veers unpredictably (in a good way!) between any and every subgenre of rock like the most erratic rocking horse you’ll ever sit on, and gives no indications of where any song could go next. It’s incredibly fun to listen to, and I’m sure it was just as fun for Lord Emu to make. Also, it’s available on Bandcamp for as little as £2, all of which will help the band turn these songs into a studio album, so why not buy it? Definitely a better way to spend your money, rather than wasting it in Jimmys.

Instagram: @lordemuband

Bandcamp: The Rocking Horse Sessions (Live) | Lord Emu (bandcamp.com)

By Jack Fry.

Last week I was lucky enough to attend DULOG’s superb musical theatre production of the Gilded Age musical, ‘Hello Dolly!’. When I asked the producers why they had opted for ‘Hello Dolly!’, they explained that DULOG favoured the musicals of this period in order to appeal to the older, more genteel theatre-going population of Durham. While one may think this could make for a stale rehashing of familiar and old-fashioned productions, the producers outlined their desire to modernise some of its more dated aspects.

The story follows a matchmaker, Dolly, a character most famously embodied by Barbara Streisand in the 1969 film version, as she tries to divert and win the affections of half-millionaire, Horace Vandergelder. She is a woman of all trades, including but not limited to: varicose vein healing, dance teaching, ear piercing but most importantly to the narrative arc, matchmaking. As she proclaims shortly after the curtain is raised, “I meddle” and boy is she good at it! Through smart direction and choreography Dolly orchestrates the stage, sending the chorus one way and the other, making clear to us from the outset who is in control. A larger than life character; she is vivacious, charming, impertinent and independent. Florence Lunnon inhabits her role with confidence as her voice soars between a low New York growl and a beautiful soprano. She also has a knack for physical comedy that repeatedly fills the Gala Theatre with audible laughter.

A standout number, ‘It Takes a Woman’, is initially sung by the character, Horace Vandergelder; the lyrics demonstrate some of the sexist ideals of the time that may have made the audience cringe and that those involved sought to refresh. However, when the song is reprised by Dolly it becomes an empowering ballad of agency. For me, the show seemed a smart commentary on gender roles. The female characters are searching for fulfilling lives and financial independence; they use the constraints and expectations of a patriarchal society and the naive men in their life to their advantage. This theme draws from an era that was pivotal in the development of the women’s movement. Suffrage began to gain momentum in the 1890s and women became more liberated; the Victorian invention of the bicycle, an unlikely ally, also gave women higher hemlines and a new found independence.

‘Put On Your Sunday Clothes’ was also a noteworthy number, anchored by the riotous comedic duo of Samuel Kingsley Jones and Stephen McLoughin as Cornelius Hack and Barnaby Tucker. They were particularly engaging throughout – Kingsley Jones’ performance was impressive and his singing voice was a highlight. The song ascended to a pinnacle of the show when the whole company joined, singing in harmony as their technicolour parasols spun in steam train formation towards Manhattan.

This thoughtful choreography continued with a couple of dance interludes. The dancers appeared most notably as waiters at the Harmonia Gardens Restaurant; their high kicks recalled French cabaret dancers of the era and as their tailcoats spun behind them, their silver trays cast gleaming light across the auditorium.

I was especially impressed by the production value that benefited from a sizable budget, further adding to the polished nature of the musical. The various era appropriate costumes enhanced the visuals as well as the numerous candy striped, art nouveau sets that were presented to us; each one like a scene from a ‘New Yorker’ cover. The only aspect that gave away its student led operation was the youthfulness of the actors playing older characters.

Overall, considered and interesting directing choices by Alexandra Hart and Jennifer Lafferty made for a dynamic and accomplished production with old school charm and jovial melodies, truly a joy to watch. The experience as a whole altered my perception of student theatre – it’s no wonder DULOG has been a permanent fixture in Durham for the past 50 years!

By Mimi Nation-Dixon.

Nora: A Doll’s House’ is a play that explores feminist themes through the life of protagonist Nora, in 1918, 1960 and 2018. Reframing Henrik Ibsen’s brutal portrayal of womanhood in his 1879 play, following the same protagonist through different time periods prompts audience members to question how far we have really come in terms of equality. 

At first, I was sceptical as to how this play would maintain relevance in a crowded Student Theatre scene; plays centred on feminism are not short of supply in Durham. Yet, after seeing the artistic promotion for this play – I was intrigued and excited at the prospect of a fresh outlook and perspective. Needless to say, it did not disappoint; a powerhouse of creatives behind the scenes, led by director Jennifer Lafferty, and a dedicated cast, ensured that the performance and story told was relevant, inspiring and honest. 

The staging, although simple, proved to be highly effective – the clever use of lighting ensured that the sparsity of the set never felt barren or bare – it felt lived in, Nora’s home. Lafferty must be commended for her clear and methodical approach in terms of staging what is a very complex play in a small venue. City Theatre has a small and compact stage – a play like Nora would have naturally lent itself to a bigger stage which would have allowed the actors to be freer in their movement. Nonetheless, tactical lighting and staging ensured that the limits placed on the production by the venue were minimal – and for this, the production team must be saluted. 

The whole cast were, with no doubt, strong actors all with a natural flair for storytelling. I would have liked to see more continued characteristics in the characters in the different time periods; this would have reinstated that they are indeed the same people, albeit with differing limiting contextual factors –  this would have enhanced the themes of the production, at times it was too easy to forget that it was the same character of Nora and Thomas in 1918, the sixties, and 2018. 

In a cast of strong actors, it is always hard to pick out particular performances which resonate. However, I must commend both Honor Calvert and Tom Pyle – dynamic, expressive and electric, they were able to ensure consistent ‘light and shade’ within their roles, creating an artful performance which didn’t fall into the trap of being just one dimensional. Emotion never felt forced. They both trusted the script and let the lines lead their performance, not visa versa. A special mention must also go to Nathan Jarvis who executed his role of Daniel with such conviction – allowing the audience the relief of a laugh in what was an emotionally intense story.

There were moments of the play which could have been executed better, such as the ‘slap’ and the sound effect of the baby crying – in a hyper naturalistic play, these moments were somewhat out of place and forced. However, the clever staging of the dance scene was artfully constructed and executed with slick professionalism.  

The final scene is a moment all the cast and crew should be immensely proud of – the astounding performances and clear and clever direction really leaves no room for criticism. Simultaneous with the lights, the Noras’ exhalation at the end of the play serving as a neat and powerful finish to a strong production. 

I mentioned how I was sceptical of the relevance of this play in a crowded student theatre scene. My worries were proved wrong, in the most wonderful of ways. Through thoughtful staging and clear direction – Jennifer Lafferty, assisted by Julia Kennerley and Abby Greenlaigh, managed to ensure that the characters remained truthful and real – ensuring the story remained raw and powerful. 

By Ed Osborne.

Anyone who’s attended one of the countless balls in Durham will know that we have a plethora of cover and tribute bands, always with an ABBA song loose in their fingers. Although these are great for a half-cut dance, sometimes I feel in the mood for something edgier. At times like this it’s important to know that Durham also has a great original music scene with bands – mostly guitar driven – playing songs from all ends of the indie spectrum. Last night, Emy Silver, Mother, and The Cygnets reminded us of just that. The Holy GrAle was the perfect venue: cosy, intimate, and with great drinks that threatened to turn this article into a beer review. Don’t worry – as soon as the music started my focus was recaptured and taken prisoner for the rest of the night.

Emy Silver was a fitting opener as the most atmospheric, mellow act of the three, but don’t let this fool you; herself and her band were still more than capable of filling the room and raising the energy at a moment’s notice. Their opener was moody and menacing, with the guitar and bass interlocking to leave no space empty and the trip-hop drums of Ella Cole keeping the song moving forward. Emy’s voice and synth floated above the rhythm section, her lyrics hard to distinguish but the melody shining through. Her next song was her newest single, ‘This is the World’, which washed spacy synth chords over a looping guitar and bass line. This along with Silver’s ethereal vocals reminds me of Slowdive at their most dreamy.

The crowd are pulled back out of the clouds with the next few songs taking a livelier approach – Silver’s first single ‘Roads Ahead’ is reworked into an upbeat dream pop track and the band keep this energy up for a while. Then, as the set draws to a close, we return to the eerie yet calming atmosphere of 90’s bands like Mazzy Star and Portishead. Ella’s sticks skitter round the drum kit barely touching the skins as the synth takes up a catchy melody. Emy sings “I think I might fade away…” and the band respond, refuse, and crescendo into the set’s loudest moment yet. Just as we feel we are on the edge of something, the final chord rings out and I resurface from my reverie as if no time has passed.

Next up are Mother, a louder four-piece who take their roots in the post-rock of bands like Slint and Swans, as well as stoner- and jam-rock. Throwing the crowd into the deep end with fast-paced riffs, the opening instrumental is over in a flash. Drummer Matti Syrjanen switches immediately from its straightforward beat to a syncopated, accented, skittish line which the band immediately accompany with a fittingly harsh guitar riff. The music is menacing, occasionally dissonant, but very alluring. Their third song is my favourite – they extend its intro as if improvising, teasing the whiny yet endearing riff. The drums shift constantly and soon you don’t know where the hook starts or ends. Jack Redfield’s half-singing, half-screaming drawl gives the songs more traditional structures, but they still never fail to leave you slightly unsettled.

Halfway through the set, the band change vocalists, and Eddie Dewing’s spoken word monologues take over. This is a big change but it doesn’t make the set feel disjointed at all. The riffs are still heavy, the drums still jazzy, the bass still driving and moody, but the vocals become more understated; Eddie hugs his guitar and stares distractedly into the distance á la Robert Smith as he delivers a cynical rant on the hollowness of modern consumer society. “Everyone in this city dresses the same”: it sounds like Trainspotting if it was set in Brighton. Becoming suddenly introspective, Dewing implores “don’t let me keep you” as their set draws to a close. He doesn’t have to worry – I’ll listen as long as Mother wants. The final song ends fittingly: a melancholy riff crescendos into chaos and Jack howls one last lamenting verse, before the room is silent once more. Mother sound like a garage band who’ve smoked too much weed and teeter on the verge of breakdown. It’s weird, it’s fun, it’s some of the best music I’ve heard in Durham.

Tonight’s headliners, The Cygnets, are quick to take to the stage. Styling themselves as an ‘alt-rock and grunge band,’ their set also includes flavours of classic rock and blues – but they give both of these genres a 90’s twist. They open fast, grungy, and earnest with three fun originals, the last of which is their love-letter to Paddy’s Pizzeria. It’s a definite highlight of the night. The crowd are quick to get their feet moving with a small but impressive mosh pit forming. This is no doubt egged on by the three-piece’s cover of The Beatles’ ‘Helter Skelter’ which is given a huge boost by the furious drumming of Dom Zizza, who turns Ringo’s originally measured beat on its head. As their set goes on the musicianship of the trio is on full display; Zac Parkin’s bass is eternally in time, occasionally adding creative flourishes to his steady rhythms, whilst Oscar Dolan’s fluid vocals slide over his equally elastic guitar playing. The band’s final song of the night, ‘The Human Condition,’ is their heaviest yet and a great way to close the night. They further top off a triumphant set with an encore of ‘Hot to the Touch’ – another original, and a punky song which shows off Oscar’s guitar skill with a classic rock’n’roll solo. The Cygnets make playing fast-paced, intricate grunge pop seem easy, and through it all look like they’re having as much fun as the crowd are.

As I leave, I feel like I’ve been taken on a tour of the best music of the 90’s, from dreamy trip-hop to stoner punk to grunge pop. I’d encourage anyone to go and see any of these three bands: they’re some of the best Durham has to offer.

Instagram:

Emy Silver: @emysilver_

Mother: @themotherbanduk

The Cygnets: @thecygnets

By Ailís Osobase.

I’m sure many of you will have seen the recent film Blonde, directed by Andrew Dominik, which centres itself around the life of Marilyn Monroe. Or, if you haven’t seen it, you may simply have heard about the overwhelmingly negative reception it has been met with. Having watched it in full myself, I admit I was disturbed after only one hour and had already decided it would be the topic of this article. Like many others, the film relies on the all-too familiar trope of the ‘hysterical woman’, denying women any claim to success without also being damaged or traumatised in some way first. The fetishization of female distress and illness (albeit mental or otherwise) seems a little outdated for a 21^st century audience, and I find myself wondering how films such as these manage to pass through so many hands before the decision is made that they are fit for public viewing.

Audiences found the film to be ‘depressing’ with no tonal shifts, as Dominik holds his audience in a glorified re-enactment of the traumas in Marilyn’s life. What I found to be most disturbing was the ever-present male gaze that the director feels no obligation to undermine. It would be one thing if the sexualisation of Marilyn’s character in the film was beset against a tone of disapproval, or if it ultimately concluded that she is more than just the sex symbol of her generation. However, I felt the film only renewed with a new vigour the sexualisation of the female icon, effectively setting us back 60 years. 

The film sparked a social media frenzy, my TikTok ‘For You Page’ filled with various watchers who felt ‘disgusted’ by yet another film sensualising female neurosis. All the worse, is the fact that the film actually fabricates much of the star’s life, some of the most harrowing scenes being entirely fictional. Dominik has argued his work does not ever claim to be a biopic and is in fact based on the fictional novel by Joyce Carol Oates of the same name. Even knowing this, it doesn’t sit right with me that a director would go out of their way to engage with an audience that is perhaps unfamiliar with Marilyn and feed them details that are both disturbing and incorrect. One user refers to Blonde as being a ‘treadmill of trauma’, and I’d largely agree with this. The film strategically skips over Monroe’s entire career progression and any positive moments of her life, rather placing a decided emphasis on those darker ones. 

Emily Ratajkowski in a video posted to her social media encourages women to get ‘angry’ with films like these, arguing that anger is an emotion that can’t be sexualised. Whether or not you agree with this statement, the idea of getting angry is rather convincing, because this is exactly how a lot of women have felt when watching this. However, whether this anger alone will ever stop the media from pushing out films of the same misogynistic nature as Blonde, we can’t be sure. We’ve all heard the phrase ‘even bad press is good press. Perhaps the onslaught of disturbed watchers on TikTok is precisely what made you go and watch Blonde, or maybe even this article will. We are in an age of over-consumption, where we all want to engage with what is ‘trending’. Even when we are discrediting something, others feel the need to view it for themselves to be able to discredit it also, or at the very least to make sense of the negative press. 

Dominik in an interview asserted ‘I’m not interested in reality, I’m interested in the images’, and this is made very clear. While the film can be applauded for its cinematography and accuracy in physically transforming Ana de Armas into Marilyn, no such attention is paid to translating the true character of the actress or her life leading up to her death. Women occupying a character significant only as an image of beauty or tragedy is a tale as old as time, and Blonde is a frightening reminder of this. It would be encouraging if we could see the accuracy of female achievement properly translated, rather than all focus being placed on the aesthetic appeal that her role might provide. Marilyn, here, is only one example of the defamation of female legacies on the screen. 

It begs the question, why must female stars be stripped of their career milestones as Marilyn has been in ‘Blonde’? To draw comparison, Elvis Presley in his death was rewarded by Baz Luhrmann’s recent portrayal of him as a rising rockstar despite all obstacles. Elvis himself was not without controversy, and yet his legacy in the film is carefully preserved. It becomes difficult to decipher whether this is simply the difference between good and bad direction, or whether filmmaking as a whole struggles to positively address female histories. Theodore Melfi’s Hidden Figures details the story of a team of female African-American mathematicians whose work was vital to NASA during the early years of the U.S. space program. From watching this film, I know that male direction is in fact capable of depicting successful women who faced hardship, but I wonder whether Melfi is anomalous here. 

It’s therein an uncomfortable reality that male directors like Dominik may continue to profit off the sexualised ‘distressed woman’ until hopefully the next media trend overwhelms this trope and something new takes its place.  In the meantime, though, we can vocalise our anger. What’s more, we can actively endorse productions with female-leads who are talented within their own right, not merely talented in spite of their trauma. 

The Ugly Fruit Group: An Open Letter

An open letter to the students of Durham University,

If you were asked to list the biggest challenges faced both globally or, perhaps more relatable to you, in the North East, what would you say?

I imagine you’d reel off a list of justified causes, all worthy of our concern and attention, and hopefully somewhere on that list would lie food waste and the reality of those without access to nutritious, affordable food (food insecurity). Why these challenges in particular you might wonder? Whilst around three million people in the UK are thought to be malnourished* eighteen million tonnes of food goes to Landfill each year.

10% of children in the UK live in food insecurity, yet nearly half of fruit and veg is thrown away on aesthetics alone. The North East has the second highest poverty rate in the country, yet household waste in the area remains over 1 million metric tonnes. So I suppose this begs the question:

How can it be that there is so much food waste in times of such dire food insecurity?

Perfectly good food is being thoughtlessly discarded, whilst poverty levels in the UK are rising. The fact that both of these problems are endemic is infuriating. So, when I saw a post on Overheard at Durham from a little team called The Ugly Fruit Group, stating that they were looking for volunteers to help tackle these intertwined and ever-worsening problems in the local area, I knew I wanted to be involved.

At the Ugly Fruit Group, we do our best to help tackle both food insecurity and food waste in Durham and the surrounding areas. We receive donations of ‘ugly’ fresh fruit and vegetables that otherwise would not be sold from supermarkets and distribute the freshest to local food banks. This is particularly important as food bank parcels provide almost 50% less than the recommended amount of Vitamins A, C, D and E. Such vitamin deficiencies have a significant impact on energy levels and wellbeing. The lethargy and ongoing health issues caused can make it harder for individuals to break free from food insecurity and partake in social causes.

Whatever can’t be donated but is still edible is used to make long-life sustainable snacks which are sold to raise money to help us continue the project. So far, we have saved over 300kg of fruit and veg, donated 120 packages to local foodbanks, and provided 1080 fruit and veg supplements. It’s been an interesting but rewarding journey. Covid-19 has repetitively thrown a spanner in the works, but despite the challenges, the team has grown arms and legs with us currently having over 46 volunteering members. We have a regular stall over at the Scoop store in the Riverwalk and have managed to sustain multiple donations a week to three food banks that we’re partnered with. Though the problems of food insecurity and food waste often feel like a tidal wave, we are doing our best at having a positive impact on the local area. Though I am extremely proud of the work we do, it is frustrating that we are still needed at all.

There are two main components to our action: to fight against food insecurity and to fight against food waste. The first, more macro-level approach, is by demanding policy change.

But what if I told you that there are easy ways to implement change and that you can do them at home yourself? Both food waste and food insecurity are issues that most students care about in some way, shape, or form. But, hear me out, sometimes this caring is misplaced – and saying you care means a lot less if your actions don’t align with your words. Caring is the first step on a long journey of change, and it is important to recognise how many of these different issues within society are all directly linked to each other. In order to enact change, we need to remember to keep our outlook open and inclusive; if we don’t, we risk isolating the very groups of people we are trying to help. Whilst it is important to make practical swaps and campaign for policy change, as you likely see advocated across social media, it is also important to remember that this is not some far away issue, and to keep people at the centre of our actions.

There is a tendency for these issues to be reduced to dinner table debates. The controversialist of the room, who loves to say they’re ‘just playing devil’s advocate’, blames food insecurity on the individuals. Why should the government help them? They should get a job, they say.

People struggling with these real issues deserve more than a jump to their defence conceptually. We need practical change, and we need it now.

Are you one of the people that genuinely wants to help, but perhaps unintentionally missed the mark? You’re not alone and we want to help. Here’s a small list of ideas on how you can start to help tackle food insecurity in Durham:

Align your actions with your words. Hopefully by now you have realised that this issue is deep rooted but often doing the right thing can start from a simple second thought to that all-too-normalised action. Not going to eat those last two slices of pizza tonight? You’ve eaten most of it, they could just go in the bin…but how about keeping them to take to the library for lunch tomorrow! Your berries got a little squashed in the bottom of the shopping bag? You could throw them away…but wouldn’t they taste incredible in a smoothie! When you notice people around you doing things that you know will directly contribute to food waste, let them know. You don’t have to get angry at them. Instead, inspire that second thought.

Be mindful of how you (and others) talk. Unlearning bias can be a difficult job, but it is one we need to do. If you’ve never faced food insecurity, or seen anyone experience it, well-intended words can sometimes miss the mark. Try not to talk about it as a problem that is far away – you don’t necessarily know that the people listening haven’t faced something similar themselves. By now you are hopefully aware that this is an issue which has in fact been right beside you throughout your entire time in Durham. If someone opens up to you, try not to condescend, and remember that their lived experience isn’t something up for debate. Let’s try to stop the stigma surrounding food insecurity.

Be a conscious consumer. If you have time to sign up to be a volunteer or have the funds to donate, brilliant! But realistically not everybody does, and the act of supporting does not have to be a time intensive process. Come visit our TUFG stalls, and if you like the look of things make a purchase or two. You could switch to buying your dried groceries from Scoop. They donate their profits to local charities, with the donations split corresponding to the amount of votes each charity receives from the customers. Last term, they supported Fareshare, who help tackle hunger and food insecurity in the local area. Similarly, if your college doesn’t already have a food bank donation setup, consider chatting with the staff about starting one.

Avoid large supermarkets where possible because they’re the biggest contributors to food waste. If there are a few items you do still need from these stores, try starting your shop in the reduced aisle to find some perfectly edible hidden treasures before they are thrown out. For the rest, consider switching to the Fruiterers in the market or Robinsons on North Road for your fruit and vegetables. If you eat meat, have a look around for a local butcher. Shop small and local, and don’t underestimate the benefits of a meal plan.