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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A warning shot from the recent past
MARIA DUARTE recommends a chilling dramatisation of a gun massacre that ravaged a Tasmanian town in 1996, and which highlights how easily another mass shooting could happen in Australia today.
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
Nitram (15)
Directed by Justin Kurzel
BASED on Australia’s worst mass shooting, at Port Arthur in 1996, this quietly powerful drama examines what led to the horrifying event and attempts to understand how and why it happened, while shining a spotlight on the country’s growing gun issues.
Set in the mid-90s, the film is viewed through the eyes of the gunman, a young man with mental health issues nicknamed Nitram (a phenomenal Caleb Landry Jones), who lives with his father (Anthony LaPaglia) and his controlling mother (Judy Davis).
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