In Phyllida Lloyd’s all-female version of Julius Caesar, Rome is swapped for a women’s prison. The performances crackle with energy (especially Jade Anouka’s skittish Mark Antony), but this is theatre, not film, and the thrill of a live show doesn’t always translate. Lloyd’s camerawork is creative, using iPhone footage and GoPros alongside more traditional cinematography to create a sense of immediacy, the camera’s closeness showcasing details (like wine poured from a bottle of Ribena) that might have been difficult to see in the round.
