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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The Western finds a new master practitioner
JONAH RASKIN meditates about the periodic, Phoenix-like rise of the genre that was once a Hollywood staple
(L to R) Benedict Cumberbatch and Jesse Plemons as Phil and George Burbank
[Kirsty Griffin/Netflix/IMDb]
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
WHAT’S a “western?” Cinemagoers and film critics have been asking that age-old question and aiming to answer it, too, especially ever since The Power of the Dog arrived on Netflix at the end of 2021.
Jane Campion’s movie, which was filmed in her native New Zealand, has the look and feel of a Hollywood western. It has bronco-busting cowboys and a few Indians, albeit not of the hoop-and-holler kind, and it doesn’t spew the myths of the frontier.
Set in Montana in 1925, the year that US readers fell in love with F Scott Fitzgerald’s The Great Gatsby, it boasts wide open space and spectacular landscapes, though Campion’s landscapes also have something mysterious and spiritual about them.
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