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Holloway review — six former inmates open up movingly about life behind bars

Holloway review — six former inmates open up movingly about life behind bars

Times6 hours ago

As proved by the four seasons and 130 episodes of HBO's In Treatment, there are few subjects more innately suited to wrenching emotional drama than a high-stakes therapy session. And the stakes rarely get higher than in this documentary, a moving film about a five-day group therapy session for six women who were inmates at Holloway prison in London.
• Read more film reviews, guides about what to watch and interviews
Shot in 2021 before the building's demolition, it has a deceptively simple format. The women are returned to the crumbling edifice, placed in a seated circle in the old chapel and, under the supervision of a trauma counsellor, asked to explore the often harrowing psychological consequences of the prison experience.
The tension is in the women's initial denial and the tough carapace of their coping mechanisms. Two of the younger subjects claim that prison life was a 'walk in the park', with one, Sarah, saying that she won't be opening up to anyone in the group because of her trust issues. 'If I trust you then you can do bare shit to me, and I'm not on with that!' she says. Her journey, and that of the film, will be a gradual softening and a breaking open into sadness, understanding and, yes, trust.
It's niftily co-directed by Daisy-May Hudson and Sophie Compton, who are savvy enough to include scenes of the women objecting to the camera and establishing exactly how they will tolerate regular film-making intrusions. Hudson made the tearjerking social drama Lollipop, which came out last week, and is swiftly establishing herself as a directorial powerhouse. Compton recently announced that male film critics are wholly problematic and that, hampered by their gender, they are simply unable to 'understand' films made by women. By some miraculous stroke of good fortune, however, this male critic seems to understand Holloway. Or at least he claims he does. Typical. ★★★★☆12A, 86minIn cinemas from Jun 20
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Calvin Harris forced to take extreme measures at £3.6m Cotswolds mansion after bus passengers could see into bedrooms
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Calvin Harris forced to take extreme measures at £3.6m Cotswolds mansion after bus passengers could see into bedrooms

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Labubu: How the Pop Mart dolls conquered the world

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PATRICK MARMION reviews Stereophonic at the Duke of York's Theatre: Sex, drugs, rock 'n' roll... all that's missing is Fleetwood Mac

Stereophonic (Duke of York's Theatre, London) Verdict: Goes its own way Welcome to Stereophonic, the ' Fleetwood Mac ' play with music. Now in the West End after winning five Tony Awards on Broadway, it re-creates one of the most notorious episodes of sex, drugs 'n' rock and roll excess in all of pop history: the recording of the band's 1977 album Rumours. In the studio back then, singing and squabbling and much more besides, were Americans Stevie Nicks and Lindsey Buckingham, alongside Brits Christine and John McVie and drummer Mick Fleetwood. As you would expect, this gives us lots to get high on in this three-and-a-quarter hour, fly-on-the-wall, dysfunctional re-enactment. But for all the slick, intoxicating staging and a jaunty rock score by Will Butler (formerly of Arcade Fire) played live by the multi-talented cast – there is one very big elephant in the studio. This is not actually Fleetwood Mac (and the name of the fictional band is never mentioned). Lucy Karczewski makes a riveting West End debut as the not-Nicks character 'Diana', combining the innocence of Ariana Grande and the agonies of Adele. She's insidiously controlled by a shady Jack Riddiford as the not-Buckingham character 'Peter' – an insecure 'covert rebel' who was the band's commercial whip-cracker. Chris Stack brings Jeff Bridges vibes to the not-Fleetwood drummer 'Simon'. And as the not-McVies we have booze-sodden Reg (Zachary Hart, falling apart in front of our eyes) and exasperated Holly (Nia Towles). There's also a terrific comic Beavis and Butthead-esque double act from Eli Gelb and Andrew R. Butler as the two sound mixers, Grover and Charlie. David Adjmi's script gets as close to reality as he probably dared; and Daniel Aukin's production is nothing if not watchable, thanks to a remarkable set by David Zinn. Butler is careful not to expose his score to much comparison, offering mostly musical riffs and snatches. And none of his full-length songs come close to matching the glorious internecine conflict of Go Your Own Way. If only they'd had the rights to Rumours... this really could have been something stunning. Stereophonic runs until October 11. Anna Karenina (Festival Theatre, Chichester) Verdict: Bookish Rating: In Chichester it's not quite Anna Karenina, either. What we want from Leo Tolstoy's 19th-century Russian door-stop is a mad-passionate love story set amid dramatic social upheaval. What we get, in Phillip Breen's artfully experimental production, is academic analysis and fascinating stagecraft. Game Of Thrones star Natalie Dormer lends steeliness and intelligence to the title role of the society woman who scandalises St Petersburg by leaving her husband and child for the catastrophic allure of Count Vronsky (Seamus Dillane, son of Stephen). But their relationship feels bookishly inert. Dormer would have been better off with the man playing the novel's Tolstoy character Levin (David Oakes), who oozes charisma as a reticent man of the country. And Oakes also happens to be Dormer's real-life husband! Mobilising 19 actors over three hours, Breen's script gives up on drama and has characters explain themselves in awkward soliloquies. But it's cleverly performed amid dolls' houses and rocking horses – as well as toy trains, foreshadowing Anna's eventual fate on the tracks. Anna Karenina is on until June 28.

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