‘We need to talk about Kevin’ is Lynne Ramsey’s triumphant return to film since her last celebrated project ‘Morvern Caller’ almost ten years ago. Told in a fractured narrative, with extreme close ups, playing with scale of food, space and colour she repels yet intrigues us. It may take viewers a while to come into focus with Ramsey’s vision but it’s a film which is compelling viewing both narrative and cinematography. The mind boggles at the notion she may have taken on the project of directing ‘The Lovely Bones’ but was pipped to the post by Peter Jackson.

Tilda Swinton plays the emotional draining but enlightening role of Eva a woman who ponders her role as mother, parent and ex wife in the aftermath of an epic atrocity committed by her son. Kevin is brought to life by a career changing performance by Ezra Miller who wears sadistic, sinister teen deviance well.

Have we been here before? Some would argue yes with Gus Van Sant’s ‘Elephant’, Oliver Stone’s ‘Natural Born Killers’. Although the role of modern instant fame and the need for recognition on any scale from the media is portrayed here as with the latter, all roads lead back to the role of Eva Khatchadourian in Kevin’s early life. Is her resistance to nurturing him in the conventional mother role the reason for his later acts or was he just born a sociopath. Is her resistance fueled by her initial blasé attitude towards having a family and missing her continental and cultural lifestyle.

All of ‘Thursday’ could be read as a way to simply to taunt her. Although he acts aloof and uninterested there is a disturbing atmosphere that suggests he enjoys her extremely trying and difficult visits to prison as he can dig the knife in further. Even after his 15mins are up. It’s seems that Kevin is lacking natural empathy for other people. Whilst this maybe true to a certain extent it is clear he enjoys manipulating and making Eva suffer which would mean he would have to recognize pain and anguish as emotions and a way to hurt her. Making him no less human, should we try to understand him. Does this derive from his feelings of being unloved and unwanted by Eva as a child. These are left open for viewers to ponder as we experience Eva living in the everyday aftermath of his mess, whilst trying to process her potential part played with in the proceeding moments.

Its to be applauded the specific and sharp direction Ramsey and Swinton took the book. It’s a stripped adaptation and by nature many lovers of the book will acutely point out various points which were disgarded in order to bring their vision to the silver screen. The key performances by Swinton, Miller and C Reilly, combined with the cinematography used to created Eva’s now distorted jointed world say as much as the book without shouting lifted lines or sequences from Lionel Shriver’s novel. There is a particular moment when Eva comes in contact with a victim which does not appear in the novel which is profound, heartbreaking and actually gives viewers a sense of hope and humanity. Whilst ‘Columbine’ may seem more relevant to those reading the novel at the time of release, the film actually comes at a moment when people are worried about what to do with modern youth again. ‘London Riots’ and ‘Norway Shootings ‘ have contributed to making this film adaptation just as relevant. Like the book it raises more question than it answers, about the nature of parenthood, society and responsibility.

The film is divided into two sections the first being Justine (Dunst). Justine a discontented advertising executive tries her best to play happy bride, sister, daughter only to fail. The awkward contrived atmosphere of the wedding reception proceeded by the inner family squabbling causes her to dissociate herself with the celebrations. She seems to fall into her familiar mental space of solitude and depression. The marriage falls apart almost immediately, sending her into a deeper episode. The second section called ‘Claire’ after Justine’s sister (Gainsbourg), explores in more detail the nature of the two sisters relationship and perhaps the effect of Justine’s depression on it. Gainsbourg delivers an intriguing cold acidic performance but then only to give into natural hysteria due to Melancholia’s looming collision. Claire initially has to take care of a ‘rock bottom’ Justine who eventually ends up being the more stable of the two.

As Justine has resigned to her own personal world collapsing she is able to face a real apocalypse with calm, somber sense of acceptance instead of Claire’s panic and hysteria. Reading reviews from Cannes hailing ‘Melancholia’ as Kirsten Dunst’s break out role seemed comical as the 29year old actress has had a major presence in Hollywood most of her life. However her performance here does progress her career in a different direction. Her ability to consistently draw out an emotionally rattled yet reserved subtle performance is brilliant.

There is no impending doom which keeps audiences at the edge of seats awaiting a science fiction climax, this is settled in a strange wonderful tone during the opening. Lars Von Trier has produced an unapologetic, self interested piece of work which is cathartic for him as a director yet sometimes long winded and lethargic for audiences. Where ‘Dogville’ and ‘The Idiots’ explored social structure and the nature of humanity when this is altered, Melancholia is about dread. There is an unexplored look at family dysfunction, we are never sure how close Justine and Claire are to their mother and her charming father disappears in Justine’s time of need. There is a larger sense that none of it matters at the end of the world. In a literal form the planet ‘Melancholia’ and the end of the world is a narrative vehicle to explore depression an individual scale and perhaps to address his own demons on a cinematic scale.

Michael and I played in a band together in Australia and we both relocated to New York in 2009, one thing led to another and we started something completely new, the rest of the band fell into place then on.

I’ve always wondered working in a band/group how you all come to the same point of creative musical output, what if someone thinks the producer or the lyrics are not what they want whilst someone else thinks it’s fantastic?

I guess we’re all on a similar page when it comes to taste and ideas, so we generally don’t have too many problems with decision making, I also guess that’s why it works in the first place because you trust the people your creating with. That said, there are times when it just doesn’t work and we certainly bring it up.

With the release of your debut album, are you happy with the final piece and how long has it taken you guys to get here?

It’s taken us a while, only because it’s been something that we’ve taken our time with. It was more of a growth thing, once we we’re in the studio things sped up.

The record itself didn’t take long but the ordeals that surrounded it may as well of been years, very glad that its over and we’re all very happy with it!

There’s such an ethereal theatrical sound to ‘Our Mountain’, which suggests a visual as well as sound adherence, I’m guessing you are all into a lot of film and art, which reflects into the music?

Film definitely inspires me. Watch The Holy Mountain at 8am tomorrow morning.

How many songs have not seen the light of day in that process and with unfinished songs or sound do you just introduce listeners to it in the next project?

We haven’t had much time to write material that we don’t use, I mean we’ve got old songs that aren’t relevant any more but in terms of the direction that is Our Mountain, we play what we have. We are working on new material that will be on records to come, I’m sure we’ll pull out a few unfinished songs live soon.

Personally as an individual do you like to listen to music, which has a constant running theme and tone, or do you like a collective of sounds and lyrics on an album?

I like records that attract you into the story, records that have an ark, something from start to finish, something that speaks.

So you had a few shows in London recently how was that and where has been your most memorable…not favorite…but memorable? Did someone fall over an amp in Munich or someone else met the love of their life after one show?

Its hard to pin down one memorable moment, for me it was more about the entire tour, in this case the UK was memorable, I mean we were sharing single beds and sneaking half of the band into hotel rooms with blow up mattresses most of the time, I guess that was pretty memorable.

It was a great set at ‘Stag and Dagger’ recently. With touring and seeing so many different stages and cities, is that what makes every performance different whilst performing songs, which must be so familiar to you?

The people are the main difference; we had one of our most memorable shows playing to 15 people in Leicester, it more to do with the energy on the night.

How much do you want to give your listener, childhood memories or an ex-partner….how easy/hard is it to be as honest as possible?

For now, I’ll say everything, I’m a believer in honesty in music, more specifically in the projection sense, words are only words, it’s when there told with truth that they stand up. I feel that once it’s orchestrated its safe and once it’s safe its time to shake the tablecloth.

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JH: An amazing creative director, Mr Howard.

HW: The idea was originally a cross-media type of soap opera but morphed into a theatre project when everyone liked the idea but then told me how it should be different and what I should do. I thought f*** everyone, I’m going to do it my way.

What can we expect from ‘Burlexe’ that is different to other productions in London?

JH: It’s one show which involves burlesque performers, comedy singing and great actors.
HW: It’s theatre meets burlesque meets musical meets female revue – there’s nothing to compare it with really.

How do you find the difference of communicating with people on stage, surely it’s the same process conveying a talent to engage people?

JH: I’m much better on stage. I feel a lot more confident – it brings out the best in me.

Do you think it does help to have some kind of previous performance experience, dancing, singing and acting?

JH: Of course. You can’t expect to just get on stage and wow an audience without experience.

Why do you think Burlesque is now more popular than ever?

JH: Women are always waiting to find out what the new thing is but burlesque is sexy and empowers women.

Why do you think it also has a very female friendly approach, perhaps women enjoy seeing other women who naturally comfortable in their skin?

JH: Women love watching each other, more so than men. We are amazing and interesting creatures – who wouldn’t want to watch us!?

Do you think there is a certain amount of drama involved in the performance, is it a completely different character you embody on stage or a heighten version of yourselves?

JH: For me it’s about being completely different. I change into another being.

Have you found that Burlesque has informed you fashion of clothes preferences?

JH: No!! LOL

Similarily it’s about embracing individual feminity and being a woman, has this made you more confident in how you carry yourself in day to day life?

JH: Not really!! I’m confident on stage but I’ve always been quite shy offstage.

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When: Four strictly preview shows: 7pm on 1^st, 15^th, 22^nd and 29^th June

Where: The Shadow Lounge, 5-7 Brewer Street, London, W1F 0RF

How much: £20 (strictly preview price)

Tickets: http://www.wegottickets.com/burlexe

Online: www.burlexe.com | www.facebook.com/burlexe | www.twitter.com/burlexe

The gorgeous CocknBullKid played CAMP on city road, treating audiences to the new sound of her second album ‘Adulthood’ out today. Her poised effortless stage presence was enchanting.

With Stag and Dagger’s twin sister festival, Glasgow’s SERIOUS line up made the London goers a little jealous. Missing out on Yuck, Warpaint, Ed Sheeran, Bo Ningen meant high stakes for ‘Toro Y Moi’s show. No disappointment as his lo-fi electro set was better than anticipated.

Our Mountain brought their dramatic, ethereal presence to Underbelly, with Abbey Lee Kershaw playing the drums with a chain (yes an actual industrial chain) whilst fellow band member Matthew Hutchinson provided vocals and guitar.

A place to Bury Strangers pulled in an impressive crowd, heavy guiter sounds provided a nice of pace, from the electro atmosphere.

Stag and Dagger festival is proving to be one of London’s most accessible festivals to catch new musical talent on early an summer evening.

So just wanted to talk about your style? Do you enjoy getting dressed up when not performing?

Oh yeah definitely (excited smile as she scans clothes around the room). I think every girl does.

How would you describe your style, is there a certain theme or colour you always return to or particularly like at the moment?

I like errrrr, quite a classic look; I like items in black and white. But then again I’m really into floral stuff too, now it’s spring. Not over the top but subtle patterns. Stripes I like stripes.

Is there anything you are thinking about buying in the next few months for summer, like wedges or a jacket?

Actually yeah I do, I went up to Oxford Street and I went into River Island. And I think chunky heels are back to stay, specifically that seventies style. I saw these lovely ankle boots, with a block heel and I’m not always into those kinds of shoes. But these ones were instantly like “Gotta get them”

What sort of places do you enjoy shopping at the moment, off the top of your head?

Topshop, River Island, Miss Selfridges, Juicy Couture and I like Matthew Williamson…

So do you think your style is evolving and growing as you do as an artist?

Yeah or even things I used to hate I’ve found I like them now. Like big earrings (She shows me chunky, vintage looking diamond style heart shaped studs). Chunky wedges even, I used to dislike them and now I love them, because I know how to put things together better.

What would be your favourite outfit you wore in the ‘Yeah Right’ video?

Hmmmm (Ponders). Probably the black dress with the white bowtie. It comes in at the waist and it goes out in an A-line style. Yeah I think that’s my favourite one.

What do you see your self wearing this year on the road, is this something you just approach nearer to appearances?

Errrm, yeah I would love to wear a Victoria Beckham dress. I like her new pieces, because I like a lot of fitted things around the waist and she tends to that. But she always keeps it simple and classy. Yeah I like that look.

Have you seen any special vintage or high street boots you like around?

I really like the Floral Dr Martins. I was actually not into Dr Martin’s at all last year but now I really them. I also like the patent black ones. For me, I would wear them with skinny jeans and a baggy top. If I was going out I was wearing them I would wear them with black tights, shorts or a skirt with a tucked in blouse.

What do you like wearing when your out with your friends?

Ummm when I’m with my friends, I actually take longer to get ready that when I’m going on stage. Because its my personal friends so it like I wanna stay in trend with them more. With a show I pick what I like ages before the show, so it’s already all there.

What’s your favourite accessories or compliment to an outfit, shoes, handbag or jewellery?

Shoes, love shoes. I’ve got about 42 pairs of shoes. Hahaha. I’ve bought a lot and sometimes on shoots they are nice enough to let me keep them. I adore shoes.

‘Yeah Right’ (feat. Diggy Simmons) – EP – Dionne Bromfield available now on iTunes

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Kip: We are at La Route du Rock Festival in St. Malo, France.

How would describe your mood today in a colour?

Kip: Charcoal. Or at least that’s the color of the sky and my sweater. I don’t feel so bleak, so perhaps it is a lighter grey or even silver.

How you feeling about the new album, does it ever feel completely finished with new work?

Kip: We’re very excited. Regardless of what people will say, whether bad or good, we know we made the best record we could possibly make, the record we wanted to make and the record that honestly represents the kind of band we are.

What was it like to work with Alan Moulder and Flood?

Kip: Cool! Those guys are awesome at making records and super nice.

Why do you think there is hub of musical creativity in Brooklyn with bands, is this true or a rumour set sail across the pond and it’s actually a pretty boring place?

Kip; Brooklyn is a great place to live, simply speaking as a music fan. There are so many great shows almost every night, and new bands that are routed in cool stuff start all the time. Plus, depending on where you live, it’s easy to walk to a lot of venues, and the subways run 24 hours, so access is always possible.

Do you find touring the UK different to any other place you have toured?

Kip: Well, we really like the places we play in the UK – especially Glasgow, Leeds, Manchester, London and Brighton. The UK is closer to the US than it is to continental Europe, Scandinavia or Japan.

Excited to be back towards the end of the year?

Kip: We’re actually going to be in the UK for a show at King’s Collete in London on March 3, and hopefully again in the summer.

What has been some of your favourite venues around the world to play?

The Bottletree in Birmingham, Alabama USA, Hana Bi in Ravenna, Italy and basically anywhere  in Glasgow or Sweden.

Do you think there’s moments you wake up and think “I wanna get back to the studio, I have something I’m itching to do right now” or do you just let ideas wash over you slowly before any production?

Kip: Hmm. I have ideas for songs, but I usually just try to do them in Garageband – it’s pretty cool that technology has progressed to the point where that’s both possible and normal.

I always wanted to know what it’s like being on photoshoots when you’re in a band, have you developed a camera face just to get the shots done or is it still as awkward as the first ones?

Kip: It’s always awkward. I have never gotten used to it, and I probably never will. I like it when the photographer tells you how to stand or do something, as I never know what to do. Sometimes having some drinks helps too, because you feel less self-conscious (though still pretty self-conscious).

What do you think you would be doing this exact moment and year if you weren’t in ‘Pains of Being Pure at Heart’ and hadn’t met?

Kip: Working.

Mikey and l Formed Die! Die! Die! at the end of 2003 when we were 18 but we broke up after 2 NZ tours.

We then hung out in Auckland and got a new bass player henry. Henry used to sing in Hardcore bands and that was a genre which really fascinated us as in Dunedin Hardcore didnt exist. We recorded 2 eps with Henry and our first album with Steve albini. Then Henry decided he wanted a real life and left the band. So we got our best friend Lachlan to join the band. He was in like 3 really amazing bands in Australia.

Our first bass player and I came up with the name Die! Die! Die! on the telephone. Our first bass player gave me a few names. I believe they were SEXEXEX, Girls! Girls! Girls! and die! die! die!. I thought the first 2 names were really creepy so i am glad we went with die! die! die!

With so much intense touring how have you adjusted, do you find it bizarre being at home for more than three months?

Its quite funny. We pretty much toured constantly for 3-4 years and for the last 18 months we have pretty much just been in NZ chilling. Its been a real nice change. We have all turned into home bodies.

We are about to do a 3 month tour. So i am wondering how we are going to adjust to that!

How involved are you and were in the studio process, do you make sure the studio team know exactly what you want or do you walk in to a session with an open mind?

We are really involved in the Studio process. We never walk into a studio with an exact idea what we wanna do but we always let it evolve naturally and dont try to force it.

Like with Form we thought we were making our loudest, most “punk rock” album and it turned out the  opposite. haha

How important is it to you guys to just be free to take time on material, once industry folk get involved do you feel a pressure to speed creativity up?

I think we are really lucky with Die! Die! Die! as we dont work with anyone who would be so arrogant to try and rush us to do anything we dont wanna do.

We record when we want and where we want. Its great.

We have had people try and force us to rush stuff and tell us to do stuff we dont wanna do. They usually find we get rid of them very quickly in one way or another.

Have you ever heard small pieces of music or lyrics that make you cringe because they were written at different points of your life?

I think anybody who releases albums over a few years will always have a few bits of past records which make them cringe. If they say they dont they are either lying or total ego manics. haha.

We were quite young when we released our 1st album and even promises promises. So there are a few youthful statements on those albums i always blush when i hear them. haha

What other peers/bands do you admire and listen from New Zealand?

I really love: the coolies, the clean, Crude, the 3ds, bailter space, Surf city, the Dead C.

There are alot more but those are all bands i really like who are in one way or another still going and releasing good music now and have a great attitude.

Did Die! Die! Die! Ever start with a vague manifesto, perhaps “We aren’t going to take any crap, just do what we want to”…..or maybe ….”We are open to change of musical direction if we are in sync with each other?”

No we just wanted to play lots of shows and get out of New Zealand and off the dole and see the world.

So far we have done 3 of those 4 things.

What do you want to see happening in 2011?

If we dont kill each other after this 3 month tour we are doing in March-june. We will be recording our 4th album in France.

And hopefully we can release that album around the world before the year is out!!!

What is your favorite moment from the last year?

My sister having her son Leo.

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Joffe set his adaptation in 1960’s Brighton immediately attempting to give himself distance from Boulting’s piece. By doing so he manages to capture the unrest and new found impatience of the British youth to be noticed. The film noir presence is unapologetic, swinging light bulbs in dark claustrophobic rooms, male protagonists in trench coats who are near unlikeable and the seedy underworld of constant gambling.

“I was terrified of adapting a classic novel in the shadow of a classic film but I did it because I love the story and when you are in love with something or someone you do not act rationally,” ……..”I told the story because I love it. Some critics will never forgive me but it just made it all the more exciting.” -  Rowan Joffe- Director

‘Pinkie’ appears in the novel as violent and selfish but he still manages to retain a small sense of sympathy due to lack of options, which does not translate well in Riley’s depiction. The familiarity of Greene’s male figures comes with an angry, confused but still present moral undercurrent. Greene’s work explores individual spiritually how this transcends into paths taken and choices. Nonetheless Riley proves his acting capability is no fluke and displays a wide range regarding previous work. Nieve waitress Rose is acutely played by Andrea Riseborough who conveys Rose as shy, awkward and genuine. A role which could have easily annoyed viewers becomes empathetic as she tries to forge a way out of her mundane bleak future through the initial excitement of Pinkies advances. Helen Mirren approaches her portrayal of Ida, Rose’s boss with a fierce sense of complexity, noting she may be overprotective due to a harsh life and sets about uncovering the true nature of Pink’s intentions.

John Mathieson culptivates stunning scenes by recreating the street riots and confrontations between the Mods on scooters and Rockers on moterbikes. It should be noted that these moments in the film are although historical still created from scratch and have no initial place in Greene’s work perhaps giving the film an orginal edge. The juxopisition of Brighton pier in all it’s 1960’s seaside glory with the undertone of brutality concerning rival gangs is captivating. Rowan Joffe’s debut feature shows immense potential as a director and while his adaptation of ‘Brighton Rock’ is over shadowed by expectation and Boulting’s 1947 piece, it does display exhibit great British talent to watch.

Much global press attention has been paid to Darren Aronofsky’s latest feature since ‘The Wrestler’. Even more when information surfaced that the two projects were intended as one body of work about high and low culture focusing on the physical use of the body and the impact mentally when abused by each central character.

“I’ve always considered the two films companion pieces. They are really connected and people will see the connections. It’s funny, because wrestling some consider the lowest art — if they would even call it art — and ballet some people consider the highest art. But what was amazing to me was how similar the performers in both of these worlds are. They both make incredible use of their bodies to express themselves.”

With Natalie Portman winning a Golden Globe for her role and appearing a strong contender in the race to the Oscars and Baftas, the buzz both good and bad continues to entice potential audiences.

The tense, awkward relationship between Nina (Portman) and her mother Erica (Hershey) is unexplored but the short moments it is given are extremely distressing, troubling and climatic towards the end of the film. Subtly suggesting it may be the driving force for the entire narrative, not the looming opening of the Ballet Company’s production of Swan Lake.

The gradual decline of Nina’s mental stability seems to take shape when she is given the ‘Swan Queen’ role. However cracks can be seen earlier. The rash which appears, we later learn is familiar, the biting of Thomas’s lip and the pointless stealing of Beth’s things suggest she may have already been on the road to self destruction or discovery. The dark doppelganger, mirror apprehensions, skin mutilation and even werewolf like metamorphosis are however also effective as visceral horror tactics to cinematically portray her decent into madness. Having said that at times Portman shrieks and flutters unnecessarily, not to her fault perhaps to the horror pace at points of the script.

Beth (Ryder) and Lily (Kunis) are also intriguing female roles left a little superficial in order to drive Nina’s journey. Beth struggles with the downward direction of her career after poor sales and age. She could have been used to explore a truely ugly superficial nature to the Ballet company as Thomas (Cassel) looks for a new young star to heighten ticket sales. Lily initially seems sly and career stealing. In fact she is probably the only female character uninterested by the intense atmosphere of dance studios. It is her that encourages Nina to relax and create a life outside of it. It is her that awaits her success and applauds her performance.

The use of severe hand held camera is almost constant throughout the film. Feeling as though you the viewer are a stalker creeping up behind Nina in every shot or  walking backwards in front of her nearly about to bump into a wall. Not to produce a documentary feel or unlikely counter-act the male gaze, more to heighten claustrophobia and perhaps view her from the dark doppelganger point of view waiting for her moment. As the film progresses it becomes almost overwhelming. The ‘score’ is heavy and intoxicating, constantly reminding us we are watching a psychological thriller/drama, with no attempt to be lucid. Connecting scenes through whimsical childlike paranoid themes in the beginning and ending in deep haunting notes. Black Swan definitely lingers with you long after first glance enjoyed or not, which is usually the sign of strong film. Whether Aronofsky and writers Heyman, Heinz and Mclaughlin are successful is open to interpretation but they have to be applauded for at least attempting to show the several faces and shades of a female and her psyche.

In cinemas nationwide now