Review: ‘A Good Girl's Guide to Murder’

Photo/Supplied
Photo/Supplied
Short Url
Updated 12 August 2024
Follow

Review: ‘A Good Girl's Guide to Murder’

Photo/Supplied
  • The series reminded me of the classic Nancy Drew books; both feature young, intelligent girls who are adamant at trying to diligently — and somewhat stealthily — solve mysteries

Fans of Holly Jackson’s highly popular 2019 novel, “A Good Girl’s Guide to Murder,” can now experience the story visually with the new BBC TV adaptation, which premiered on Netflix this month.

The adaption was made by Poppy Cogan and directed by Dolly Wells. It was developed by Moonage Pictures for BBC Three and is available for streaming on Netflix.

Much like the book, we follow the story alongside 17-year-old Pippa Fitz-Amobi, portrayed by Emma Myers of “Wednesday” fame. Set in a small British town, Pippa’s journey uncovers deep secrets and buried realities.

In the story, Pippa is quiet and timid but also stubbornly refuses to believe what everyone else in town has come to accept, that five years prior, her slightly older school friend, Sal Singh, murdered his girlfriend Andie Bell and then killed himself.

With the looming EPQ (Extended Project Qualification) due date fast approaching —which is required for all seniors to complete for their university application — the studious “good girl” Pippa decides to take it as the perfect opportunity to investigate the case herself.

The truth, she finds out, is much more sinister than she could have ever imagined.

The series reminded me of the classic Nancy Drew books; both feature young, intelligent girls who are adamant at trying to diligently — and somewhat stealthily — solve mysteries. Their goal is to simply know the real story.

The idea of what it means to be a “good girl” is also explored in all its complexity and glory.

“Just because she did this (bad) thing does not mean she’s not a good person,” Pippa says in one scene.

Later on, in another episode, after she had uncovered some harrowing hidden truths, she declares: “There is no such thing as a good person.”

The season is made of six episodes, each of which lasts about 45 minutes. If the TV series is renewed, they have two more books to delve into.


Directors show solidarity with Palestinians during Venice Film Festival speeches

Directors show solidarity with Palestinians during Venice Film Festival speeches
Updated 08 September 2024
Follow

Directors show solidarity with Palestinians during Venice Film Festival speeches

Directors show solidarity with Palestinians during Venice Film Festival speeches

DUBAI: The final ceremony of the Venice Film Festival on Saturday saw multiple winners use their acceptance speeches to express solidarity with the Palestinian people and condemn Israel’s military campaign in Gaza.

“As a Jewish American artist working in a time-based medium, I must note, I’m accepting this award on the 336th day of Israel’s genocide in Gaza and 76th year of occupation,” said US director Sarah Friedland as she accepted the Luigi de Laurentiis prize for best first film for “Familiar Touch.”

“I believe it is our responsibility as filmmakers to use the institutional platforms through which we work to redress Israel’s impunity on the global stage. I stand in solidarity with the people of Palestine and their struggle for liberation,” she continued.

Kathleen Chalfant, Orizzonti Award for Best Actress winner, and Sarah Friedland (R), Lion of the Future – "Luigi De Laurentiis" Venice Award for a Debut Film and the Orizzonti Best Director award winner, pose during a photocall. (AFP) 

The director’s comments were met with strong applause, Deadline reported. Her speech comes amid Israel’s 10-month military campaign in Gaza in which more than 40,000 Palestinians, including more than 16, 000 children, have been killed. The current conflict was sparked by the Oct. 7 Hamas attack on Israel, in which 1,139 were killed, including 36 children.

Palestinian filmmaker Scandar Copti accepted the best screenplay prize in the Horizons section for his films “Happy Holidays.”

“I stand here deeply honored, yet profoundly affected by the difficult times we’re living through over the past 11 months, our shared humanity and moral compass have been tested as we witness the ongoing genocide in Gaza,” he said on stage.

“This painful reality reminds us of the devastating consequences of oppression, which is a theme in our film. Our film looks at how moral narratives can bring us together as communities, but also blind us to the suffering of others.”

Meanwhile, “The Room Next Door,” Pedro Almodóvar’s English-language debut starring Julianne Moore and Tilda Swinton, topped the Venice Film Festival and was awarded its Golden Lion award.

 


Saudi-supported ‘Front Row’ screens in Toronto

Saudi-supported ‘Front Row’ screens in Toronto
Updated 07 September 2024
Follow

Saudi-supported ‘Front Row’ screens in Toronto

Saudi-supported ‘Front Row’ screens in Toronto

DUBAI: Algerian filmmaker Merzak Allouche’s family dramedy “Front Row,” supported by the Red Sea Fund, screened this week at the 49th Toronto International Film Festival.

Allouche’s 19th feature tells the story of two matriarchs, Zohra Bouderbala and Safia Kadouri, who find themselves in conflict during a day at the beach. Zohra, accompanied by her five children, arrives early to secure a desirable spot, but tension arises when the Kadouri family is placed directly in front of them by a beach attendant.

As the two families engage in a passive-aggressive battle, teenage romance quietly unfolds in the background, adding to the drama.

The film stars Fatiha Ouared as Bouderbala, Bouchra Roy as Kadouri, and Nabil Asli as Hakim, the beach attendant.


Saudi-supported Egyptian film wins big at Venice Film Festival’s Final Cut

Saudi-supported Egyptian film wins big at Venice Film Festival’s Final Cut
Updated 05 September 2024
Follow

Saudi-supported Egyptian film wins big at Venice Film Festival’s Final Cut

Saudi-supported Egyptian film wins big at Venice Film Festival’s Final Cut

DUBAI: The Red Sea Film Foundation-supported film “Aisha Can’t Fly Away,” the feature debut of Egyptian filmmaker Morad Mostafa, became the first Egyptian film to win the La Biennale di Venezia Prize at Final Cut in Venice on Wednesday. 

The award, given for a film in post-production, is worth €5,000 ($5,546).

The film, which got a total of five awards during the festival, tells the story of a Somali woman caring for her elderly parents in Cairo while witnessing the tensions between the different ethnic groups who make up the city’s society.

This year’s jury included Wayne Borg from NEOM, Monica Ciarli from Minerva Pictures, and Dennis Ruh, the former director of the European Film Market.

In their statement, the jury labeled Mostafa’s story “powerful and authentic,” adding: “Despite being a first feature film, it showcased confident direction and a distinct cinematic voice. The film’s gritty realism, attention to detail, and impactful storytelling left a strong impression on us.”

Three other films supported by Saudi Arabia’s Red Sea Film Foundation also won awards at Final Cut: Egyptian filmmaker Mohamed Siam’s “My Father’s Scent,” Lebanese director Nadim Tabet’s “In This Darkness I See You” and Mosotho screenwriter and film director Lemohang Jeremiah Mosese’s “Ancestral Visions of the Future.”

Final Cut in Venice offers filmmakers a platform to showcase their works-in-progress to global industry experts, helping with post-production support and market entry.


Arab Fund for Arts and Culture director talks new Netflix collab supporting women filmmakers

Arab Fund for Arts and Culture director talks new Netflix collab supporting women filmmakers
Updated 03 September 2024
Follow

Arab Fund for Arts and Culture director talks new Netflix collab supporting women filmmakers

Arab Fund for Arts and Culture director talks new Netflix collab supporting women filmmakers

DUBAI: Netflix and the Arab Fund for Arts and Culture (AFAC) have partnered to launch an initiative called “Women in Film – Bring Your Story to Life,” dedicated to advancing the professional growth of Arab women filmmakers. 

It will offer training and development opportunities to up to 25 women from Saudi Arabia, the UAE, Egypt, Jordan and Kuwait.

Hopefuls can apply as teams with a complete project or as individuals for positions such as cinematographer or editor. A jury will select five projects, while a matchmaking process will be used to help incomplete groups find the technical expertise they need. Each group will develop a short fiction film with a $25,000 budget.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by AFAC (@afac.fund)

Rima Mismar, the executive director of AFAC, spoke to Arab News, sharing insights on the support the initiative will provide.

“The support that we give in the first stage is very much dependent on the script itself. The jury, which will make the selection, will also provide input and feedback on what each project needs in terms of finalizing the script, which will mainly be through training with scriptwriters, who may also be filmmakers,” she said.

“Once the script is finished, the focus will shift to the producers, as they bring together the team, including the director, writer, producer and cinematographer,” Mismar added.

The program will also offer mentorship and consultancy at every stage of production, from guiding directors on their films to providing support in cinematography, editing and sound design. 

Mismar expressed optimism about Arab cinema, noting: “Arab cinema, in terms of creative expression, style, and voices, is in a good place today.”

However, she highlighted significant challenges, particularly in funding and distribution. “The questions that most filmmakers today are grappling with are related to funding and the circulation and distribution of their films,” she said. 

She emphasized the need for a rethinking of production models to allow for more frequent filmmaking. “We need to think of ways to make films with less money because the economy of the region does not allow for huge productions. If filmmakers want to do films more frequently, rather than one every 10 years, we need to rethink the tools and resources available to them,” she explained.


India’s ‘Mollywood’ cinema rocked by MeToo abuse claims

India’s ‘Mollywood’ cinema rocked by MeToo abuse claims
Updated 03 September 2024
Follow

India’s ‘Mollywood’ cinema rocked by MeToo abuse claims

India’s ‘Mollywood’ cinema rocked by MeToo abuse claims
  • Explosive government report has documented widespread sexual harassment in an industry dominated by powerful and wealthy men
  • Case of Sreelekha Mitra and close to a dozen others have triggered a MeToo reckoning in the industry, with 10 prominent figures accused

NEW DELHI: Terrified for her safety, Indian actress Sreelekha Mitra remembers pushing chairs and a sofa against her hotel door after she said an award-winning veteran director sexually harassed her.
Mitra waited 15 years to speak out about the incident, one of several cases exposing the dark underbelly of India’s Malayalam-language “Mollywood” film industry that has won awards at Cannes.
Her revelation was spurred by an explosive government report documenting widespread sexual harassment in an industry dominated by powerful and wealthy men who believe that an actress willing to kiss on screen would do the same in real life.
“That entire night I stayed awake,” Mitra, 51, told AFP.
Mitra was invited to a gathering at the director’s house, where she said he lured her into his room for a phone call with a cinematographer.
“He started playing with my hair and neck... I knew if I did not say anything then, his hand would roam around other parts of my body,” she said, describing events from 2009, when she was 36.
She left and returned to her hotel.
“The intentions behind his moves were pretty clear to me... I was petrified.”
Her case and close to a dozen others have triggered a MeToo reckoning in the industry, with at least 10 prominent figures accused, according to Indian media.
Kerala-based Mollywood is known for critically acclaimed movies with strong and progressive themes, a change from the big dance and song numbers of India’s giant Hindi-language Bollywood in Mumbai.
The industry is prolific, producing up to 200 films a year, loved not only by southern India’s 37 million Malayalam speakers, but also dubbed and streamed across the rest of India and abroad.
Internationally, its films have won awards, including the 1999 satire Marana Simhasanam (“Throne of Death“), winner of the Camera d’Or at Cannes.
This year’s “Manjummel Boys,” a survival thriller, took $29 million at the box office, the highest-grossing Malayalam movie ever and the fifth-most successful in India this year.
The industry report, released August 19, said women actors faced the widespread “worst evil” of sexual harassment.
The report was released by the Hema Committee, headed by a former high court judge, set up after a leading Malayalam actress reported she was sexually assaulted in 2017.
Gopalakrishnan Padmanabhan, a prominent Malayalam actor better known by his stage name Dileep, was arrested for allegedly orchestrating the assault.
He was imprisoned for three months before being released on bail. The case continues.
But the release of the report has opened discussion on the far wider issue of chronic violence against women, encouraging people like Mitra to speak out in public for the first time.
It said that women who considered speaking out about sexual assault were silenced by threats to their life, and to their families.
Award-winning actress Parvathy Thiruvothu, 36, called the investigation a “game changer” and a “historic moment.”
“There was this idea that women working in the industry should feel grateful for having been given an opportunity by the men who were hiring them,” said Thiruvothu, a member of the campaign group Women in Cinema Collective.
Allegations of abuse in Indian cinema are not new.
It witnessed a wave in 2018, shortly after the 2017 MeToo movement erupted in Hollywood against disgraced US movie producer Harvey Weinstein.
But Thiruvothu called the latest allegations more than “MeToo Part Two.”
“It’s shaking everything,” she told AFP. “It isn’t an individual-to-individual complaint anymore. It’s about a systemic structure that has continued to fail women.”
Since the report, several top actors have been accused.
The Association of Malayalam Movie Artists was dissolved following the resignation of its chief on “moral grounds” with some members among the accused.
Ranjith Balakrishnan, 59, chairman of the state’s film academy, has also quit.
Balakrishnan, who denies any wrongdoing, was the man Mitra accused of sexual harassment.
Police have filed a case against him for outraging a woman’s modesty, a non-bailable offense.
Mitra, who until the release of the report had only mentioned the incident to an industry colleague, told AFP that Balakrishnan had misused “his power.”
Thiruvothu offered a message to all women in the film industry who have survived sexual assault.
“You are a skilled artist... do not listen to anyone who tells you to find another job if it is so difficult for you,” she said.
“This is your industry, as much as it is anybody else’s. Speak up, so that we are taking the space that is rightfully ours.”