Jonathan Wakeham

@jonathanwakeham.bsky.social

Screenwriter at Independent Talent (UK) & Lit Entertainment (US). Mentor at Arts Emergency. Coming soon: LA noir, aliens & wolves. WGGB.

Dazzled all over again by Bergman's PERSONA (1966) at BFI yesterday, on gorgeous 35mm. It's a film that rewards rewatching more than almost any other: every scene shimmers with ambiguity, every action provokes and rebukes interpretation, while remaining a gripping, sensual psychological thriller.

Bibi Andersson and Liv Ullmann in Ingmar Bergman's PERSONA, their faces in close-up, challenging the lens.

I'm the grim reaper of television: any show that I love is immediately cancelled (RIP to LOVECRAFT COUNTRY, I LOVE DICK, THE CHAIR). So farewell, PONIES: Haley Lu Richardson & Emilia Clarke were an absolute joy as unlikely spies in 70s Moscow, with terrific scripts by David Iserson & Susanna Fogel.

Haley Lu Richardson & Emilia Clarke as unlikely spies in 1970s Moscow

I hugely enjoyed Curry Barker's OBSESSION, despite being a horror film coward. Inde Navarrette is sensational: her storytelling scene matches Naomi Watts' audition in MULHOLLAND DR. as a sequence that transforms both performance & character. Also the most unsettling phone call since LOST HIGHWAY.

Inde Navarette in OBSESSION dir. Curry Barker. She's smiling nervously at a party, two boys in the background behind her.

Spielberg's DISCLOSURE DAY is less like ET & CLOSE ENCOUNTERS than a fusion of TINTIN & THE POST. It's also as much of a personal portrait of his parents as THE FABELMANS, and his most 70s movie since — well — the 70s. So as a lover of Pakula & Pollack's conspiracy thrillers I had a wonderful time.

Emily Blunt in Disclosure Day, tears in her eyes, in her childhood bedroom.

Sophy Romvari's BLUE HERON has haunted me for a week now. It's a powerful, intimate story of childhood, memory and a quest for closure that takes dazzling leaps in focus and form. As her troubled brother Jeremy, Edik Beddoes barely speaks but gives one of the strongest performances of the year.

Edik Beddoes as Jeremy in BLUE HERON: a pale, angular teenager with thick glasses and long hair, shot in sunlight against a blue sea.

One of my favourite novels last year, interweaving the lives of a documentary film-maker, whom we meet smuggling a wolf cub out of the Chernobyl forest, and a young activist whose work inspires constitutional change. A climate story, a nature story and a love story that offers hope in fearful times.

E. J. Swift@catamaroon.bsky.social · 2mo ago

Out today! The paperback edition of When There Are Wolves Again 🪶🦫🌱🐾🐺 geni.us/WhenThereAre...

Paperback copies of When There Are Wolves Again against a garden backdrop

I'm not sure if Frankie Thompson is the universal cure for human suffering or its primary cause, but her new show HORRIBLE THINGS is one of the funniest hours I've ever spent in a theatre. She's a genius. Don't miss it. WIP at @camdenpt.bsky.social tonight & tomorrow: cptheatre.co.uk/whatson/Fran...

Frankie Thompson - Horrible Things (Works in Regress) | Camden People's Theatre

Frankie Thompson presents Frankie Thompson - Horrible Things (Works in Regress) at Camden People's Theatre

cptheatre.co.uk

Anya Reiss is one of our best playwrights: funny, fierce & ruthless, propelled by love & rage. Her new version of A Doll's House at the Almeida is scalpel sharp & pindrop tense, wrenching the play into the present, almost to the hour, with Romola Garai as a glorious, dangerous Nora.

Tom Mothersdale, Romola Garai and Olivier Huband in A Doll's House. They are hugging and dancing in a chilly blue light, with Garai in the centre: a dance that looks like a disaster. Photo by Marc Brenner

François Ozon's haunting, timely adaptation of L'ETRANGER is a masterclass in directing. The first half is almost silent, told in striking, sensual imagery, the second driven by two dramatic set pieces. Benjamin Voisin is a charismatic, unsettling Meursault and Rebecca Marder a heartbreaking Marie.

Benjamin Voisin as Meursault and Rebecca Marder as Marie in L'ETRANGER. They are shot from above, in monochrome, lying on a beach in fierce sunlight, his head on her stomach.

If you can't get to the real seaside this Easter, Seurat and the Sea at the Courtauld Gallery is a holiday in 26 paintings. I found it very moving: Seurat sold only 3 pictures in his lifetime before dying at just 31, making these shimmering summertime seascapes feel as fragile as they are beautiful.

Georges Seurat (1859-1891), Seascape at Port-en-Bessin, Normandy, 1888, oil on canvas. A canvas divided diagonally, with a grassy cliff on the left side and a shimmering sea on the right, not long before sunset.

Tim Crouch's The Tempest at the Globe is spellbinding, combining his characteristic playfulness and thoughtfulness to create an original, beautiful version that confronts the play's problems while enhancing its magic. Sophie Steer is, of course, a marvel as Miranda, and the whole cast is a delight.

Tim Crouch as Prospero in The Tempest at the Globe: a bearded magician standing in front of a backdrop that includes a model ship, a feathered wing and relics from many cultures.

I hugely enjoyed Georgi M. Unkovski's DJ AHMET (Диџеј Ахмет) a coming-of-age tale with teeth about a young Macedonian shepherd who loves dance music and his beautiful neighbour Aya, but whose conservative community seeks to deny him both. Wonderfully acted & beautifully shot, it's in UK cinemas now.

Arif Jakup as Ahmet and Agush Agushev as his younger brother Naim: two boys, one standing and one sitting on a blue tractor, set against Macedonian farmland in DJ AHMET.

THE DEVIL'S HAND (Maurice Tourneur, 1943) is a Faustian tale about a struggling artist who sells his soul for wealth & renown. Made under German occupation, it's also a powerful & enduring warning about the perils of collaboration, with a truly unsettling performance by Pierre Palau as the devil.

Pierre Palau as the devil in The Devil's Hand: a smallish, balding man in a dark suit and hat with a deeply un-nerving expression, sitting in front of a ticking clock ...