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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Cannes misses the mark
Although impressed by the overall quality of the films on offer, RITA DI SANTO believes Jean-Pierre and Luc Dardenne’s Tori and Lokita merited the Palme D’Or
(L to R) Baptiste Sornin, Pablo Schils as Tori and Mbundu Joely as Lokita
[Cannes Film Festival]
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
THE 2022 Palme D’Or at Cannes Film Festival went to Ruben Ostlund’s Triangle Of Sadness, the Swedish director’s second triumph, after winning with The Square in 2007.
A provocative social satire, this is an energetic, wacky examination of class, gender norms and culture, as well as an attack on the social pre-eminence of beauty and wealth.
It follows two fashion models, who explore their role in each other’s lives. The title refers to the Botox-ready space between the eyebrows on fashion models.
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