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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How the fuck do we get out?
That's the question posed by a documentary on the search for an exit strategy from the Trump-era madness, reports 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
Fahrenheit 11/9 (15)
Directed by Michael Moore
DURING an appearance on The Roseanne Show alongside Michael Moore in 1998, Donald Trump praised the film-maker's debut documentary and told the director how he hoped he would never make a film about himself.
Fast-forward two decades. Trump is now US president and Moore has turned the full force of his cinematic prowess on this controversial figure, exploring the two most burning questions — how the fuck did we get here and how the fuck do we get out?
His film opens with a heartbreaking montage of the run-up to the US presidential elections, showing voters full of an unwavering belief that Hillary Clinton was going to make history by becoming the country's first woman president.
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From terrifying the children of immigrants to pepper-spraying frogs, the US under Trump is rapidly descending into mayhem, writes Linda Pentz Gunter
MARIA DUARTE recommends a chilling examination of the influence of Evangelical Christianity over the far right in Brazil
MARIA DUARTE recommends the creepy thrills of David Cronenburg’s provocative and macabre exploration of grief