New Moon is nothing if not an international advertisement for the hungry virtues of virginity and young people can’t get enough of it
The Twilight Saga: New Moon
Theatre
A smart, prickly and rewarding view of sexual and emotional confusion
Cock
Restaurants
Kitchen W8 is a bargain for this area, if such sophistication is what you crave
Kitchen W8
Too long and drawn out but very entertaining with excellent special effects
This is a peculiar play and does not work for me. Some of it is very funny but there are real flaws
Alex has a strong powerful voice and was faultless, she is far better now than she was on the X-Factor
London,
Derek Malcolm's rating
Reader rating
Dir: Nicolas Klotz.
Cast: Mathieu Amalric, Michael Lonsdale, Jean-Pierre Kalfon
Description: Simon Kessler is a corporate psychologist for chemical manufacturing multinational SC Farb, based in the German's company's offices in Paris, where he surveys the workforce with a cold, clinical eye. High-ranking executive Karl Rose summons Simon to his office and the psychologist faces a thorny moral dilemma when he is asked to judge the mental competency of CEO Matthias Just. Orchestrating a meeting with Just, Simon becomes a pawn in a battle of the boardroom and he subsequently faces his own mental breakdown.
Country: FR. 2007. 140mins
Corporate savages: Mathieu Amalric and Jean-Pierre Kalfon
Micolas Klotz’s film was called La Question Humaine in France, and that’s a more suitable title for this highly intelligent metaphysical thriller about a young psychiatrist attached to a Franco-German corporation who is asked to spy on his boss. The older man is said to be on the verge of a serious breakdown and, if he is, he must be dispensed with.
The psychiatrist is Mathieu Amalric and the boss is veteran Michel Lonsdale, two of France’s best actors, and the sparring between them is alone worth the price of admission. But Klotz’s view of the corporate lifestyle, which trains its employees to be young savages, and uses euphemisms such as “downsizing” to cover wholesale redundancies when things go badly, is both intricate and fascinating.
Halfway through the film the director posits an even worse scenario, virtually accusing the corporation and its leaders of using the same language as the Nazis did in delicately describing the Holocaust and its methods as wholesale “cleansing”.
If Klotz sometimes seems to be stretching his points too far, there is no doubt that this is a highly original and often stunning film from a director who takes a considerable number of risks, most of which come off. There is no better foreign-language fiction film in London at the moment.
Details are correct at the time of publication - please check with venue before booking.
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