Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Politically charged prizewinners
The gongs struck for film-makers tackling big issues at this year’s Cannes Film Festival, says RITA DI SANTO
Film first: Bong Joon Ho’s Parasite
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
WITH a focus on poverty and social inequality, Bong Joon Ho’s darkly satirical thriller Parasite carried off the top Palme d’Or prize in Cannes.
It follows the daily battle of a poor family in Seoul today as they scurry around their squalid basement flat and try to earn money with humiliating jobs.
Their situation starts to improve when they begin working for a rich household but when another poor family appears on the scene, a ferocious war among the have-nots begins. Parasite was certainly the best film in competition, demonstrating that Joon Ho is a major talent.
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