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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Urgent messages from Peterloo
Mike Leigh's stirring film on the 1819 massacre in Manchester has striking contemporary resonances, says PAUL FOLEY
Sceptical: Maxine Peake as Nellie in Peterloo
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
Peterloo
Directed by Mike Leigh
IT'S fitting that the British premiere of Mike Leigh’s epic film Peterloo should be screened in Manchester.
It was in the heart of the city on St Peter’s Fields on August 16 1819 that the ruling class sent in sabre-wielding troops to disperse a massive yet peaceful demonstration calling for social and political reform. By the end of the evening, at least 18 people were dead and many hundreds more injured. Coming four years after Wellington’s victory over Napoleon, it was dubbed the Peterloo Massacre.
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