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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Memoir of Mexico City wins top prize at Venice Film Festival
[Carlos Somonte]
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
VENICE, the world's oldest and most elegant film festival, reached the age of 75 this year in perfect shape.
At the closing ceremony on Sunday, the prestigious Golden Lion went to Alfonso Cuaron’s Roma, a black-and-white drama drawn from the director’s memories of growing up in Mexico City in the early 1970s.
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RITA DI SANTO takes us through the prize winners, and takes the temperature of a festival that prioritised narratives of exile, state violence and class division
The daughter of a legendary blacklisted Hollywood screenwriter has spoken out against the reactionary move, says MIKE SCHNEIDER
RITA DI SANTO gives us a first look at some extraordinary new films that examine outsiders, migrants, belonging and social abuse