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From 'Chicken Run' to 'Ratatouille' - Celebrating World Rat Day with the best cinematic rodents

From 'Chicken Run' to 'Ratatouille' - Celebrating World Rat Day with the best cinematic rodents

Euronews04-04-2025

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Happy World Rat Day!
The long-tailed rodents usually get a bad reputation, as most people see them as unclean vermin – and mice get all the good press.
Just think about all the commonly expressions and insults featuring the word 'rat', and you'll realise the cuties are usually linked to crime, squalor, illness, betrayal and death.
But beyond the age-old associations with disease and the spreading of the bubonic plague that ravaged Europe – which omit the fact that these social animals are actually cleaner than you may think – rats are seen in many cultures as symbols of prosperity and wisdom. They may be the Pied Piper of Hamelin's nemesis, but as a totem animal, they're a powerful emblem. Plus, in dream interpretation, seeing rats in your sleep is a good omen.
They deserve more respect, so today of all days, here's Euronews Culture's countdown to the best rats on the big screen. They may sometimes be used as visual shorthand for villainy, but these five cinematic rodents are either misunderstood, heroic, or quite simply show-stealing.
Special mention goes to the on-the-nose cameo of that rat in Martin Scorsese's
The Departed
, as well as the poor Venetian bunch in
Indiana Jones and The Last Crusade
who are scared senseless by our Fedora-wearing hero's fiery antics in the library catacombs. Imagine if some swaggering adventurer came to where you lived and set fire to the place. How rude.
5) Nick and Fetcher
Nick and Fetcher
DreamWorks Pictures
Seen in: 'Chicken Run' (2000) & 'Chicken Run: Dawn of the Nugget' (2023)
The original
Chicken Run
by Peter Lord and Nick Park is a classic parody of
The Great Escape
, and features two rodents that steal the show.
Yes, as the name suggests, a film about a group of anthropomorphic chickens attempting to escape their fate of becoming pie filling does have poultry as the stars of the show. However, Nick (voiced by Timothy Spall in the original film and comedian Romesh Ranganathan in
Dawn of the Nugget
) and Fetcher (Phil Daniels in the first and Daniel Mays in the sequel) are two compadres who help Ginger's cooped-up bunch with their daring escape plot.
Granted, the Pinky and the Brain-echoing duo are not the most help, as Nick cynically comments and Fletcher... Well, Fetcher is not the brightest bulb in the pack. However, they're allies, have some of the best lines ('In the unlikely event of an emergency, put your head between your knees and...' 'Kiss your bum goodbye!!'), and share philosophical discussions about what comes first: the chicken or the egg.
Hardly the musings of a filthy species now is it?
4) Splinter
Splinter
Paramount Pictures
Seen in: The Teenage Mutant Ninja Turtles series – from 'Teenage Mutant Ninja Turtles' (1990) to 'Teenage Mutant Ninja Turtles: Mutant Mayhem' (2023)
Splinter, the mutant rat mentor to the four crime-fighting turtles, may live in the sewers, but he's a symbol of wisdom in the Teenage Mutant Ninja Turtles series.
Not counting the numerous TV series and video games, the teacher / sensei / adoptive father figure has appeared in seven feature films – both live action and animated – and usually represents the calm in the storm. Indeed, he's usually portrayed as a stoic sage who never raises his voice, even when aggravated by the four mutant reptiles.
More than that, he gives onscreen rats a good name by embodying the principles of devotion, family love, and the admiration for TV soaps and Ice pops.
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In the most recent film, last year's critically lauded
Teenage Mutant Ninja Turtles: Mutant Mayhem
, the character is voiced by none other than martial arts legend Jackie Chan. This iteration of the character was a highlight, and upped the father-figure traits more than previous versions.
So, another case of rats being a force for good, as opposed to the criminal or diseased symbol rats usually get saddled with. Speaking of which...
3) Professor Ratigan
Ratigan
Disney
Seen in: 'The Great Mouse Detective' (1986)
Yes, rats often get portrayed onscreen as villains... But what villains they are.
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Professor Ratigan in ONE OF THE BEST DISNEY FILMS EVER is a criminally underrated antagonist in this Victorian-London set reworking of Sherlock Holmes. The titular Holmes figure is a mouse, thereby reinforcing their cute supremacy in the collective psyche; but as everyone knows, villains have the most fun.
Darth Vader (minus the burning bit), Hannibal Lecter, Michael Meyers, Voldemort, The Joker, Anton Chigur – they're all living their best lives. And Professor Ratigan is no exception.
The (boring) hero Basil and his retired army surgeon mouse acolyte David Q. Dawson have to face off against the dapper criminal mastermind who has kidnapped a toymaker to create a clockwork robot replica of the Queen of the Mice - so that Ratigan can usurp her place as "Supreme Ruler of all Mousedom".
How this didn't win Oscars, we'll never know.
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Ratigan outdoes his human counterpart Moriarty in every department, has a peglegged bat as a sidekick and a handy escape plan in the form of a dirigible.
Seriously, Academy, how could you let this masterpiece not get a Golden Baldie?
OK, it doesn't end well for Ratigan, but falling off Big Ben is not a bad way to go. It's certainly dramatic. His Buster Keaton demise also echoes that of Jack Nicholson's Joker, further proving that Professor Ratigan remains in the same devious and fiendishly clever league as the Clown Prince of Crime.
Rest In Power, you stylish rat mastermind.
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2) Rat
Rat
20th Century Fox
Seen in: 'Fantastic Mr Fox' (2009)
The secondary antagonist in Wes Anderson's best film was a rat named Rat.
One of the most memorable players in this gorgeous stop-motion Roald Dahl adaptation, Rat was voiced by the one and only Willem Dafoe – who recently starred in Robert Eggers'
Nosferatu
, which features 2,000 real rats.
Rat serves as a security guard for the apple cider cellar, and is revealed as just a rodent who likes to drink cider in solitude.
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We've all been there, mate.
Yes, Rat is a malicious figure – with red eyes and scars to prove it - and he doesn't exactly elevate the rat reputation, especially when he kidnaps Mr. Fox's son Ash. However, he's got moves, he sounds like Willem Dafoe (always a plus), his name harks back to Cat in
Breakfast at Tiffany's
, and in the end, he's just a lonely creature who just wants to be left alone to indulge in the occasional drink...ing binge.
Did anyone stop to ask why Billy No Mates needs to drink? Does he have trauma to deal with? A dark past to forget?
This is the trouble with modern audiences – we're so quick to factlessly label and never take the time to consider the circumstances. Frankenstein's monster was never a bad guy, just the victim of a misunderstanding. Freddy Krueger chases people in their dreams, but he probably forgot to chase his own. And don't get us started on Maleficent, who was not invited to the social event of the year, and got insulted when she showed up. No wonder she snapped!
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Rat deserves justice. He certainly didn't deserve to be electrocuted during a scuffle with a know-it-all fox.
1) Remy
Remy
Pixar
Seen in: 'Ratatouille' (2007)
Was there ever any doubt as to what the top pick was going to be?
There will be many a discerning cinephile to eruditely argue that
Wall-E
and
Inside Out
are Pixar's high watermarks. Nice tries, but the crown – or chef's hat – belongs to Little Chef.
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You've got to hand it to Pixar on this one, as the elevator pitch of a country rodent scurrying around a kitchen and restoring a Parisian restaurant to its former glory by helping a bumbling wannabe-chef cook the ultimate French Provençal vegetable dish is… odd. But Brad Bird and his team transformed this whimsically nuts idea into a gorgeously animated celebration about following your passion, reminding you that creative excellence can come from anyone. More than that, he and his animators delivered a beautifully surreal thesis on the nature of criticism and a potent meditation on the uppity devolvement of gastronomy, which has forgotten its roots in favour of inaccessibility, prejudice and snobbishness.
Only a rat could have set things straight.
Particularly impressive is the way the film makes culinary prowess joyfully cinematic, with slapstick goodness and visual representations of flavours and odours. These elements ensure that
Ratatouille
remains, 17 years on, a timeless classic that works as a colourful ride for the kids and a Proustian meditation for the older viewers about how we lose sight of what moves us because of the pessimisms of adult life.
And there's simply no denying that this cinematic masterpiece and its little furry hero has done more to improve the reputation of rodents in film than any other on-screen creature before him.
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So, whether you're catching up on this Oscar-winning glory or revisiting it for the millionth time (and appreciating all those little details like Anton Ego's skull-shaped typewriter, or how our young chef protagonist is wearing
Incredibles
underpants),
Ratatouille
is a sensory and emotional delight that's downright delicious. All thanks to a rat.

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Why has Auschwitz Museum created a digital replica of the death camp?
Why has Auschwitz Museum created a digital replica of the death camp?

Euronews

time5 days ago

  • Euronews

Why has Auschwitz Museum created a digital replica of the death camp?

Due to conservation protection, shooting films at the Auschwitz site is not possible. In order to meet the needs of filmmakers, the Auschwitz Museum has made a digital replica, which was created "out of the growing interest of directors in the history of the German camp," explains Bartosz Bartyzel, a spokesman for the museum, in an interview with Euronews Culture. Euronews Culture: Where did the idea to create a digital replica of Auschwitz come from? Bartosz Bartyzel: The Auschwitz Museum has been working with filmmakers for many years - both documentary filmmakers and feature film directors. However, due to the conservation protection of the authentic Memorial Site, it is not possible to shoot feature films at the site. The idea to create a digital replica was born out of the need to respond to the growing interest in the history of the Auschwitz German camp in cinema and the daily experience of dealing with the film industry. This tool offers an opportunity to develop this cooperation in a new, responsible and ethical formula. Why is a replica necessary? B.B.: The regulations in force at the Memorial preclude the possibility of shooting feature films on the authentic and protected site of the former camp. However, filmmakers - especially those who want to reach for more narrative forms - need a space that allows them to tell the story faithfully. With a digital replica, they can do this without compromising the integrity of the historic site. Were filmmakers consulted with before the implementation? B.B.: In fact, it was the day-to-day collaboration with filmmakers and the production needs and challenges they reported that inspired the project. The idea was not detached from reality - on the contrary, it was born out of specific conversations, experiences and questions that had been coming from the creative community for years. Who was involved in the creative process? How long did it last? B.B.: The Picture from Auschwitz project is a joint initiative of the Auschwitz Museum, the Auschwitz-Birkenau Foundation and a team of technology specialists led by Maciej Żemojcin. The very concept crystallised over several months in the course of joint work and discussions. The technical team used the most advanced spatial scanning technologies to create a digital replica of the Auschwitz I camp. At the moment, the Foundation is making efforts to raise the funds needed to continue the project - to create a digital replica of the grounds of Auschwitz II-Birkenau, as well as the interiors of some of the buildings. What reactions did you receive after the announcement of the creation of the replica? B.B.: The reactions were definitely positive - both from the film community, which sees this as a viable and professional working tool, and from the general public, for whom this is an opportunity to learn about history in a deeper and more authentic way through the medium of film. The project has also been recognised in international debate, including at the Marché du Film in Cannes. Are there already willing filmmakers who will benefit from the replica? B.B.: We have already started discussions with the first filmmakers who have expressed an interest in collaborating using the digital replica. The details of these projects remain at the agreement stage for the time being, but we hope to be able to provide more information on the first productions soon. How has this project been funded and what will it take to sustain it? B.B.: The creation of the replica is financed by the Auschwitz-Birkenau Foundation from earmarked donations made by private donors. The Foundation is seeking funds to continue the project. Its assumption is that ultimately the maintenance and development of the programme will be financed through licence fees paid by film producers who will use the materials within the Virtual Film Location. This way, the project will become a self-financing tool, simultaneously supporting the educational and commemorative mission of the Memorials. What difficulties have arisen in implementing the project? B.B.: Such large and innovative projects always face difficulties. One of the biggest was, of course, obtaining adequate funding to start and develop the project. A key challenge was also the need to reconcile high-tech solutions with the very special status of the space we were mapping. Although we are working in a digital environment, we must not forget that every step we take concerns an authentic Memorial, which is subject to unique protection. This must be a priority thought in every action.

Falling in Love 'is possible only in Berlin' says Jean Paul Gaultier
Falling in Love 'is possible only in Berlin' says Jean Paul Gaultier

Euronews

time04-06-2025

  • Euronews

Falling in Love 'is possible only in Berlin' says Jean Paul Gaultier

"I went to the Garden of Love, And saw what I never had seen." Thus begins William Blake's 230 year-old poem 'The Garden of Love'. And what a bloom has it inspired in the shape of musical sensation Falling in Love, at the Friedrichstadt-Palast in Berlin. "I just remember how it was the first time I read the first two lines," writer and director Oliver Hoppmann explains. "I went to the Garden of Love and saw what I never had seen. And that was just, wow, that struck me, because there's pretty much everything in there for a show. There's a reference to nature, to love, I mean, what else do you need?" Well, it turns out what else you need are a supporting team of 60 performers, 50 musicians and countless backstage and office staff. Oh, and an audience, which now collectively amounts to half a million spectators. Some of whom, much to my initial dismay, clapped along rather a lot. 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Profundity may be hard to detect among a sea of crystals but there are important themes at work amongst the glitz. There's an anthropological callback to Levi Strauss in the play's symbolic handing-over of the written word from the character of 'Me' and then to the character of 'You'. Walls created by isolation are broken, which takes on its own emotional evocation after the confinement of the global pandemic. The astonishing acrobatic performers (audiences genuinely screaming with disbelief at the physical feats) fall out of windows onto trampettes and ping back up again only to throw themselves out again is a nice metaphor for human romantic behaviour. The silly shapes we bend ourselves into for love and visibility. And on the philosophical note, when quizzed about upcoming fashion trends, Gaultier responds with something that probably should be on a poster. "I don't look at fashion as much as I used to. And trends are just trends but the style is something that stays. 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Sex, sleaze and subversion: Inside London's new grindhouse cinema
Sex, sleaze and subversion: Inside London's new grindhouse cinema

Euronews

time31-05-2025

  • Euronews

Sex, sleaze and subversion: Inside London's new grindhouse cinema

On an unassuming street in central London, a red-painted building peeks at passersby — its facade plastered with a close-up of The Man with the X-Ray Eyes. Inside, I'm watching Ruggero Deodato's The Washing Machine, an Italian murder mystery involving psychosexual mind games, fridge fornication, and bleeding appliances. It's the kind of filmic fever dream only The Nickel would dare to screen: a new micro cinema in London founded by filmmaker and programmer Dominic Hicks. Imbued with the frenetic spirit and sleazy charm of retro American grindhouse theatres, it's a shrine to the deranged gems of exploitation cinema: gritty, boundary-pushing B-movies. Or as Hicks puts it: 'A safe place for weirdos and outsiders.' June's inaugural screenings include everything from Todd Browning's silent horror The Unknown, to Roman Polanski's erotic thriller Bitter Moon, to David Winters' Cannes-set giallo The Last Horror Film. The programming embraces an anything-goes approach, inspired by the edgy offerings of London's infamous Scala cinema. 'I like films where the beauty in them comes through how the audience receives and nurtures them in their collective imagination,' Hicks tells Euronews Culture. 'Whether it's the practical effects, or the score, or the bad acting that they find really quotable — it belongs to the audience in the long run.' The Nickel might be small, but in an era of digital disconnection and algorithmic ennui, it's part of a growing movement across Europe: DIY film clubs and hyperlocal venues that counter the monoculture of streaming services and multiplexes. From Liverpool's trans-inclusive 'Paraphysis Cinema' to the feminist-themed 'Tonnerre' in Paris, these repertory pop-ups represent a desire among cinephiles to discover subversive oddities as intended: with an audience. 'These community spaces are an opportunity to bring people back together to have conversations about movies,' Hicks says. 'You don't have to all feel the same, but the idea of being challenged, or getting the giggles together about some strange little forgotten gem, is always going to be entertaining.' This idea of confronting discomfort together is key. Namwali Serpell, writing in the New Yorker, recently lamented the rise of 'new literalism' — a cinematic trend where movies like The Substance and Anora heavy-handedly spell out their meanings and politics. Exploitation cinema, in all its moral ambiguity and tonal absurdity, offers a thrilling antithesis. 'I actually prefer, particularly when you look at the films of the 70s, how murky those movies were — that it's not abundantly clear if the filmmakers had the right morals,' Hicks explains. 'For me, that doesn't mean it's actually promoting poor morals. I think audiences are intelligent enough to challenge what they're seeing.' Before raising nearly £14,000 (€16,640) for its permanent space, Hicks ran The Nickel as an event programme for his local pub and The Cinema Museum. Much of what he shared was on rare 16mm prints, tapping into the sensory ambience of physical formats. Similar to the revival of vinyl, the crackle and click of film reels have become a way for people to connect with art more tangibly. 'You can't come close to the aesthetic experience of watching an original film print being projected in public when you're streaming things digitally,' Hicks says, citing one magical moment at The Cinema Museum when the projector got stuck and burned a film print: 'Everybody was just delighted. It was like we'd seen a shooting star.' Though The Nickel is still under construction when I visit, the vibe already feels special. Obscure physical media lines the entrance's shelves, their lurid covers begging to be fondled. 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And if they do, it'll be a hill worth dying on for me.' As the end credits of The Washing Machine roll, the room fizzes with the excitable energy of a shared (and sordid) little secret. Away from the anodyne streaming output, there's a quiet rebelliousness in The Nickel's embrace of mess, madness and misfits — a reminder that cinema's darkened rooms are often where we feel most fully seen. The Nickel cinema opens in London on 11 June. An image of five elderly women having a giggle while sharing spring rolls in a quiet corner of Sichuan has been crowned the world's best food photograph. Titled simply as "The Elderly Having Delicious Food", the heartwarming photo by Chinese photographer Xiaoling Li has taken the top prize at this year's World Food Photography Awards, beating nearly 10,000 entries from 70 countries. Shot in Shuangliu Ancient Town, the image captures what Li describes as a 'Dragon Gate formation' - a Chinese phrase for neighbours gathering to chat, gossip, and share stories over food. 'They eat the famous Sichuan snack 'spring rolls,'' says Li. 'Food makes these people happy; they enjoy a beautiful and joyful life.' The awards, sponsored by Tenderstem® Bimi®, were announced in a glittering ceremony at London's Mall Galleries, hosted by chef and author Yotam Ottolenghi. The competition spans 25 categories - from 'Bring Home the Harvest' to 'Food in the Field' - and celebrates the many ways food weaves through our lives, cultures, and stories. 'These Awards showcase the power of photography in telling incredible food stories from around the world,' said Dave Samuels, Brand Director at Tenderstem® Bimi®. 'No matter how the world changes, food remains at the heart of our lives.' A selection of the winning images will be on display at Fortnum & Mason from 2 June and the Museum of the Home from 3 June to 7 September. Below, feast your eyes upon a few of our favourite winning images from this year's competition.

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