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Once Upon a Time in Harlem review – remarkable Harlem Renaissance documentary

Sundance film festival: a once-in-a-lifetime dinner party from 1972 is transformed into a thrilling and inspiring hang-out movie

In August 1972, the experimental film-maker William Greaves convened a once-in-a-lifetime dinner party at Duke Ellington’s townhouse in Harlem. The occasion was a celebration and reconsideration of the Harlem Renaissance, the watershed African American cultural movement of the 1920s. The guest list included its still-living luminaries, some of the 20th century’s most influential – and still underappreciated – musicians, performers, artists, writers, historians and political leaders, all in their sunset years. Over four hours and untold glasses of wine, talk wheeled freely from vivid recollections to consternation, lively anecdotes to contemplations of ongoing struggle. Greaves, by then niche renowned for his innovatively meta documentary Symbiopsychotaxiplasm: Take One, lightly directed the conversation but otherwise let the energy flow. He considered it the most important footage he ever recorded.

You could probably release that remarkable footage in full, completely unedited and unstructured, and still have a good documentary; every piece is now, 50 years later – the same distance to us as the Harlem Renaissance was to them – a bridge to a time no living person can remember, each face and gesture informed by decades of aftermath no straightforward nonfiction film on the period could capture. But Once Upon a Time in Harlem, directed by Greaves’s son David, who was one of four cameramen that day, manages to seamlessly clip and contextualize the party into 100 mesmerizing minutes. It’s both a sublime hang-out of a film and a celebration of individual achievements, a fascinating map of a long-ago scene and a referendum on legacy.

Once Upon a Time in Harlem is screening at the Sundance film festival and is seeking distribution

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© Photograph: William Greaves Productions

© Photograph: William Greaves Productions

© Photograph: William Greaves Productions

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Catherine O’Hara managed to make difficult characters utterly delightful

The death of the 71-year-old actor and comedian leaves behind a long line of unforgettably original comic creations, from Beetlejuice to Schitt’s Creek

One of the later and less beloved Christopher Guest comedies featuring his troupe of peerless, often SCTV-related improvisers is For Your Consideration, a medium-funny savaging of Hollywood’s feverish awards-season prestige campaigning.

The film’s unquestionable highlight is Catherine O’Hara, playing an actor who gets a whisper of awards buzz for a schlocky, still-filming drama called Home for Purim, and slowly loses her mind with the knowledge that she could maybe, possibly be recognized by her peers. O’Hara, known for her distinctively brassy yet malleable trill of her voice and her frequently red hair, peels back her performer’s bravado to expose the frenzied need beneath it. She somehow plays the outsized beneath the regular-sized, as her Marilyn Hack goes from plugging-away workhorse to desperate striver. Unsurprisingly, O’Hara briefly generated awards buzz of her own for playing this part; even less surprisingly, an Oscar nomination was not forthcoming. It couldn’t be; otherwise, it might have marred O’Hara’s masterclass in how certain actors, especially those specializing in comedy, are destined to go under-recognized in their lifetimes.

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© Photograph: Chris Pizzello/Invision/AP

© Photograph: Chris Pizzello/Invision/AP

© Photograph: Chris Pizzello/Invision/AP

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Catherine O’Hara, actor known for Home Alone and Schitt’s Creek, dies aged 71

Actor, also known for Beetlejuice and her work with Christopher Guest, died after a brief illness

Catherine O’Hara, actor known for Schitt’s Creek, Home Alone and Best in Show, has died at the age of 71.

Her manager confirmed the news to Variety. She died after a brief illness.

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© Photograph: Amy Sussman/Getty Images

© Photograph: Amy Sussman/Getty Images

© Photograph: Amy Sussman/Getty Images

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Melania review – Trump film is a gilded trash remake of The Zone of Interest

Dispiriting, deadly and unrevealing – there is a decent documentary to be made about the former model from Slovenia, but this one is unredeemable

• One adult for the 9.40am in Sittingbourne: a front row seat for Melania’s ominous UK opening
• Eggs, hats and unfettered ambition: what we learned about Melania Trump from her documentary

My audience with Melania is booked for Friday lunchtime at a retail park on the outskirts of Bristol, inside a large cinema which appears to have been swept and emptied in readiness. When Brett Ratner’s contentious, Amazon-backed documentary previewed at the White House last weekend, the guestlist included Mike Tyson, Queen Rania of Jordan and the president himself. Today it’s just me in the room and Melania on the screen. It makes for a more intimate and exclusive affair.

This mood of cosy conviviality extends all the way through the opening credits; at which point the chill descends and the novocaine kicks in, as the film’s star and executive producer proceeds to guide us – with agonising glacial slowness – through the preparations for her husband’s second presidential inauguration. She glides from the fashion fitting to the table setting, and from the “candlelit dinner” to the “starlight ball”, with a face like a fist and a voice of sheet metal. “Candlelight and black tie and my creative vision,” she says, as though listing the ingredients in a cauldron. “As first lady, children will always remain my priority,” she coos, and you can almost picture her coaxing them into her little gingerbread house.

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© Photograph: Amazon MGM Studios

© Photograph: Amazon MGM Studios

© Photograph: Amazon MGM Studios

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Brian May says US is currently too dangerous for Queen to tour there

Queen guitarist says ‘everyone is thinking twice about going there at the moment’ when asked about touring plans

Queen guitarist Brian May has ruled out touring in the US for the foreseeable future, because of the potential danger it would pose.

Speaking to the Daily Mail, the 78-year-old said: “America is a dangerous place at the moment, so you have to take that into account.

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© Photograph: Europa Press News/Europa Press/Getty Images

© Photograph: Europa Press News/Europa Press/Getty Images

© Photograph: Europa Press News/Europa Press/Getty Images

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What does it mean when the hottest piece of Olympic merch isn’t from the official outfitter but Heated Rivalry?

The hottest Olympic merchandise isn't from the Team Canada collection, but a fleece jacket sported by fictional hockey player Shane Hollander in Heated Rivalry. Prime Minister Mark Carney even got in on the action, posing in the original fleece with star Hudson Williams (Hollander) on the red carpet at the Canadian Media Producers Association's annual Prime Time conference in Ottawa on Jan. 29. Read More
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Displacement Film Fund review – Cate Blanchett masterminds short film collection that brims with life and intensity

Rotterdam film festival
A set of shorts by film-makers from Afghanistan, Iran, Ukraine, Syria and Somalia are shocking, funny and mysterious in equal measure

With considerable chutzpah and elan, and in her capacity as producer and UNHCR Goodwill ambassador, Cate Blanchett has achieved a geopolitical film-making coup. In concert with festival authorities in Rotterdam, she has secured cash and commissioned short films on the subject of displacement from five directors – including Mohammad Rasoulof, now in exile from his native Iran due to his pro-democracy activism, in effect making his first public statement since the recent massacres and apparently expressing his fears that he may never go home again.

The films are far from solemnly earnest – this is an anthology of five brilliant miniature artworks. By turns shocking, funny, confessional and deeply mysterious, this is a tremendous collection; the constituent films of which benefit in some enigmatic way from being shown together. What Ealing Studios’s Dead of Night did for scariness, these films may have done for 21st-century exile.

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© Photograph: Displacement Film Fund

© Photograph: Displacement Film Fund

© Photograph: Displacement Film Fund

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