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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Family matters
That’s the poignant theme of an excellent comedy drama as relatives attempt to hide the truth of her impending demise from a feisty matriarch, 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
The Farewell (PG)
Directed by Lulu Wang
LULU WANG’S The Farewell is a poignant film about the complexities of family dynamics, the clash of cultures and whether it is ever OK to withhold the truth from loved ones.
It centres on the Chinese-born but US-raised Billi (Awkwafina), who reluctantly returns to Changchun to see her grandmother and family matriarch Nai-Nai (Shuzhen Zhao).
She has been given just weeks to live but the rest of the family has agreed not to tell her and they all return home under the guise of a cousin’s impromptu wedding. It has been decades since they have all been together but Nai-Nai is none the wiser.
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