Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Nothing to write home about
RITA DI SANTO reels off her disappointment at Sundance 2022 Festival's tedious mediocrity
Khansa as Mohammad
[IMDb]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
THE just ended Sundance Film Festival (London edition) introduced 12 feature films from this year’s main festival held in Park City in Utah, US. Following its tradition of supporting emerging voices in filmmaking, the festival featured an equal number of male and female directors in this year’s selection, granting a range of British, Finnish, French, Indonesian, Canadian, Lebanese and US filmmakers to tell their authentic stories.
Winner of the audience awards was Brian and Charles, directed by Jim Archer – a story, set in rural Wales, about a lonely inventor who takes on his most ambitious project yet. By assembling a washing machine and a few odd pieces of junk, he invents Charles, an AI bot, who learns English from a dictionary and has an inexplicable obsession with cabbages.
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