As ever, this year’s Oscars have their half-dozen or so favourites and frontrunners, some truly outstanding movies among them. But the one that has stayed in my mind is a knight’s move away from the talking-point consensus: an amazingly sophisticated, wayward and garrulous film from Brazil, a film about love and fatherhood, tyranny and resistance, and coming to terms with the past. It is digressive and droll and yet in its final act escalates stunningly from lugubrious mystery to cold-sweat tension and violence. When the best picture Oscar is announced, my heart would sing to see its husband-and-wife producers Emilie...
Monitoring Antisemitism Intel
