WILL STONE fact-checks the colourful life of Ozzy Osbourne
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
JAMES CROSSLEY applauds a lucid biography of the German radical preacher who reemerged as a hero in the GDR
Prizes all round: the Bard hands plaudits to the Miners Gala, OT&JC, Joe Solo, Black Sabbath’s frontman and the Lionesses
Star cartoonist JAMIE BRITTON is in awe of a graphic novel of epic proportions that explores class, religion and globalisation via the strange cultivation of Ginseng in the US Midwest
GUILLERMO THOMAS is intrigued by a history of the Middle East that demonstrates how promising post colonial beginnings were snuffed out by Western imperialist interests
MARIA DUARTE recommends the intricate study of a high-performance and highly dysfuntional German family
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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