7. Cannes' 'year of women' didn't go so well
The three bubbles: The Asian Bubble in the early '90s, Dot-com Bubble of the late '90s and what Juckes calls the Great Big Credit Bubble that triggered the 2008 Wall Street meltdown.
Glazer surely took something, again, from Kubrick, especially in the scene in which his alien is born in some dimensionless otherworld. He took something from Nic Roeg and The Man Who Fell to Earth and a little, perhaps, from David Lynch – of which, more in a moment. But alongside the sci-fi exoticism he brought the grit and sinew of contemporary realism, calling to mind the work of film-makers like Ken Loach, or even Abbas Kiarostami and the opening of his The Taste of Cherry, in which a desperately unhappy man drives around the itinerant labour markets of Teheran looking for someone to help him. These fantastic alien forms are scuffed with ordinariness and even bathos. The scene in which the alien uncomprehendingly watches Tommy Cooper on television is a masterpiece of tonal suspense.
A video of Bi Fujian, a popular television host, poking fun at a song from a Cultural Revolution-era opera about the Chinese civil war, with his own critical asides about Mao and the Communist Party, appeared online in April. Despite the government's efforts to contain its spread, it circulated widely, with some commenters defending Mr. Bi's opinions and his right to express them.}
This year has been one of diverse and bold hair and makeup choices, from the frizzy, matted blue-tinted mane of the Witch in “Into the Woods” to the shimmering, expertly shaped pompadour of James Brown in “Get On Up.” In some cases, the absence of hair comes into play, like the bald, heavy-on-the-eyeliner look of Ramses in “Exodus: Gods and Kings.”