Alfonso cuaron

Sometimes spoilers can be your friend. For example, I have just cheated and looked up on the internet the shocking final plot twist in Disclaimer and now I have been relieved of a massive burden. No longer need I watch any more episodes of this weird, creepy, pretentious, contrived and prurient series just to see how it ends. You find yourself hating everyone and everything in it – even the cat On paper it all looks promising: based on a bestselling novel by Renée Knight (Lee Child says in a quote on the cover that it’s ‘exactly what a great thriller should be’); adapted and directed by fêted Mexican director

Loving the films of the Italian auteur Paolo Sorrentino, I thought he’d be easy to chat to. But a maestro is a maestro, as I was reminded when I interviewed him in London last week. Masked and communicating through a translator, I semaphored my admiration for his new film The Hand of God, starting with its spectacular opening shot. Like a bird, the camera flies over the sea, then focuses on a vintage car tooling along the promenade, before panning over the city again. But he rejected my praise: ‘It’s not complicated. It’s a normal shot by helicopter.’ He’s right, of course, that his new classic coming-of-age story represents a