Cannes 2. 01. 7: Punk boy meets girl (from Mars) in Neil Gaiman's new sci- fi comedy. After 7. 0 years you’d think they’d seen it all at Cannes, but Brit- punk coming of age sci- fi How to Talk to Girls at Parties features two noteworthy firsts for the fest. The New Do You Take This Man (2017) Movie on this page.

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Number one: it’s set entirely in and around the unlikely London suburb of Croydon. And number two: it features a punks vs b- movie- aliens melee in which a shock- wigged Nicole Kidman leads the charge to cries of “We are England”. Happily, the film is ace too.

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Based on the 1. 8- page short story by American Gods' Neil Gaiman, it’s been expanded and adapted by John Cameron Mitchell, who made queer classic Hedwig and the Angry Inch, but hasn't been seen on the big screen since 2. Rabbit Hole. How to Talk to Girls. Along with his two punk pals they run a little- read fanzine called Virys, trash talk Queen Elizabeth’s jubilee celebrations (the film is set in 1.

The Clash for selling out to a major record label. One night, following a particularly frenzied gig hosted by Kidman’s punk queen Boadicea, the trio stumble across a decrepit house playing extraterrestrial trance and discover a whole world of weirdness inside. In each room a different set of colour co- ordianted humanoids are dancing in ways that only make sense if it’s your first day on Earth, which it happens to be for this community of oddball ETs. The zany travellers aren’t unfriendly though, quite the opposite. Enn’s friend Vic (Abraham Lewis) gets intimately familiar with one sex- obsessed sect – the Stellas – led by Ruth Wilson in a comically unflattering latex body suit.

Enn meanwhile befriends Zan (Elle Fanning), a member of . Frustrated, Zan flees with Enn to experience the world and “further access the punk”.(Image: .

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But beneath the weirdness How to Talk to Girls. With no idea how to use her body, Zan and Enn’s awkward first kiss turns into a game of Twister, for example. As the two visit record shops and tour the town’s punk landmarks, members of Zan’s commune body hop into strangers in an effort to convince her to return before the . Tony Award- winning stage actor Alex Sharp debuts here and makes a memorable first impression as the young punk who sees the music and its mentality as a way to break free from his humdrum surroundings. Kidman meanwhile, reuniting with Mitchell following Rabbit Hole, plays a fashion designer and band manager who gets all the film’s best zingers. She’s part Peggy Mitchell, part Malcolm Mc.

Laren. Naturally for a film that’s at least partly about the early days of punk, the music is formidable. An early sequence sees a Sex Pistols- style troupe cause a ruckus in a pub with an earworm that threatens to never leave your brain, while Fanning and Sharp blow the roof off the building (metaphorically, but almost literally) with an explosive performance that has you itching to stand up and start a mosh pit in front of the screen. Amusingly, the aliens here are straight out of a hokey b- movie, or sci- fi spoof like Coneheads, speaking in empty mantras and worshiping a nonsense religion. At times it can get a little too silly for its own good, and Mitchell fumbles the final stretch by hingeing his film’s climactic dilemma on poorly explained extraterrestrial jargon that the rest of the film has gone to pains to make light of. But this gleefully camp and riotously experimental genre smash up is as brilliant as it is bonkers.