‘The Third Day’: Jude Law stuns in riveting psychological thriller

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Updated 19 September 2020

‘The Third Day’: Jude Law stuns in riveting psychological thriller

CHENNAI: “The Third Day,” which had its world premiere at the Toronto International Film Festival and is now available on OSN in the Middle East, neatly slips into the psychological horror genre, but the miniseries has been created with superb subtlety. We hardly see the horror, maybe a glimpse of it, but feel it in every frame, every movement. 

Divided into three parts – “Summer,” “Autumn” and “Winter” – HBO miniseries “The Third Day” takes us along with Jude Law, who plays the role of Sam. Married with three children and out in the British woods for the day, he is near the sea when he sees a young girl, Epona (Jessie Ross), about to hang herself. Sam saves her and takes her home to her strange island, Osea, which is connected to the mainland by a causeway that is only usable during low tide.

The people who live there are eerily strange. With phone lines dead and mobile signals down, Sam is greeted by a Mr Martin (Paddy Considine). He is unusually friendly, offering drinks on the house in his restaurant and a room for Sam to spend the night when he misses his chance to leave due to the tide. But Mrs Martin (Emily Watson) is hostile and a townsman even threatens our visitor with a gun.

It does not take us long to realize what Sam has gotten himself into on the island that is home to a population that engages in archaic, brutal faith practices. Our panic rises and what he chances upon later would send a shiver down the spine of even the most hardened TV viewer. 

Created by Felix Barrett and Dennis Kelly, “The Third Day” is structured in an unusual way — unfolding in three parts, “Summer,” which is about Sam’s time on Osea, “Winter,” which follows Helen (Naomie Harris) and her two daughters visiting the same island and “Autumn,” a 12-hour live theatrical special that will be telecast.

In the first part, the one performance that really stands out is Law’s. He is brilliant, his body language and expressions conveying extreme fear, bewilderment and shock. It is a part that could very well fetch him a few trophies on the upcoming awards circuit. 

Top trends for next spring from global fashion weeks

Updated 23 October 2020

Top trends for next spring from global fashion weeks

  • Six of the hottest tips from the catwalks (virtual or otherwise) of fashion month

MILAN: Thanks to the COVID-19 pandemic, the international fashion weeks in New York, Paris, London and Milan recently were a mix of physical shows and digital presentations. And it wasn’t just the events themselves that were affected by the coronavirus — many designers from around the world showed collections that were clearly influenced by social-distancing and lockdown, in often-contradictory ways. Whether that was the somber color palette of Simone Rocha in London, the face coverings and gloves that dominated several shows, or the more subtle nods to our ‘interesting times’ through the DIY vibe of crochet (Alberta Ferretti, for instance), the unexpected return of the sweatsuit (particularly predominant in New York Fashion Week), and the aspirational glamour of flamboyance and glitter. Tom Ford, who presented his Spring ’21 lookbook via video, provided plenty of the latter and suggested it was because he wanted to present clothes that “make us feel good” and hold out “hope of a happier time.” A sentiment that — regardless how you felt about his sequin-usage — was hard to find fault with.


Some designers — Molly Goddard in London, Salvatore Ferragamo in Milan — went bright, others were more muted — Max Mara’s sand and beige, say — and some were both — Boss in Milan, with shocking pink, cream, and sand examples. But they all seemed to agree that single-color clothing will be en vogue in spring next year. It’s bold and confident, certainly, and hopefully reflects how consumers might be feeling by the end of the winter.


If monochrome isn’t your thing, maybe you’ll feel more at home with another major — almost opposite — trend that saw many designers stamping all over conventional fashion wisdom. Cardinal sins were everywhere: Mixing colors that ‘shouldn’t’ be mixed (Pucci’s multi-colored tights), pairing patterns that shouldn’t be paired (stripes and squares!), throwing in animal prints willy-nilly, or, like Sunnei, constructing a shirt dress from four different plaid patterns. It was chaos, and all the better for it


Oversized clothing was everywhere in fashion month. Boss (again) had large sporty jackets in its Tik-Tok-streamed show; Louis Vuitton’s Paris show displayed a largely asexual collection — plenty of oversized jackets and blazers, along with ‘roomy’ pants; and Chloé paired voluminous blouses with high-waisted shorts and trousers. And mammoth handbags were ubiquitous throughout the month. Some observers suggested the super-sized clothes encouraged/forced those around to grant the wearer more personal space in these socially distanced times, others saw them as a throwback to Eighties power dressing. Either way, big is in.


From Tom Ford’s aforementioned sparkly sequins in New York to Molly Goddard’s dazzling A-line dresses in London via the floral prints beloved by Loewe in Paris and Valentino and Philosophy di Lorenzo Serafini in Milan (the latter put on an open-air show, whether because of COVID or because flowers were such a dominant motif we’re not sure), many designers were clearly aiming to lift our collective spirits with a healthy dose of bright, bright beauty. And who could blame them?


For the last couple of years, retro fashion has been dominated by Eighties and Nineties throwbacks. If Simone Rocha and Erdem, to name but two, are to be believed, we’ll be looking a little further back for spring 2021 — almost 100 years further back. Rocha’s understated collection showed clear Victorian and Edwardian influences with its puffy sleeves, voluminous skirts and high necklines, while Erdem’s dramatic collection also pulled from Ye Olde Worlde, but somehow managed to seem more up-to-date than anyone.


Whether the non-medical-grade facemasks (see Oak & Acorn, Rick Owens) or other face coverings (Chanel’s veils or Paco Rabanne’s sequined hoods) and gloves (Philosophy di Lorenzo Serafini’s rubber gardening gloves or Fendi’s bodysuits with attached gloves) are really what designers believe we’ll want to be wearing in the spring or simply a recognition of the current global situation it’s hard to say. But they were certainly impossible to ignore.