In his new film, Alex Garland seems to be trying to have it both ways, using our dire politics as buzzy I.P. while tap-dancing around conversations that might get him in trouble.
Some movies eventually become inseparable from the stories of their production. Alfred Hitchcock’s “The Birds” and “Marnie” are now inextricably associated with their star Tippi Hedren’s allegations of the director’s abusive behavior. Other films are tied to their backstories even before their release, whether Michael Cimino’s extended schedule and inflated budget on “Heaven’s Gate” or […]