To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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A triumph of colour-blindness
A United Kingdom is a powerful tale of inter-racial love, says MARIA DUARTE
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
A United Kingdom (12A)
Directed by Amma Asante
3/5
THEY say that love conquers all. But in the remarkable true story of Seretse Khama, the King of Bechuanaland (Botswana), and his white wife Ruth Williams, their relationship had to overcome racism, prejudice and the full political force of British imperialism.
The pair met and fell deeply in love in 1947 London. He was an African prince studying law while Williams, from a modest English working-class family, was an office clerk.
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