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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You can't argue with the Home truths of trash-cinema dialectics
No nonsense: Angela Mao Ying in The Tournament
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
BACK when I was a yoof, me and my mates’ favourite things were reggae music and kung fu films. Girls and football surely had their pleasures but they were fleeting and frequently all too elusive.
A weekend often led from the game to a dance and then to a late-night cinema. The vampire charms of Ingrid Pitt saw me through puberty but, equally, so did the intensity and fierceness of Angela Mao Ying.
Both brought more than pulchritude to my view of femininity. They were independent, direct women who took no nonsense.
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ALEX HALL is amused at the way the UFOs appear exactly where commercial interests, conspiracies, militarism and right-wing media overlap
SETH SANDRONSKY recommends a production that looks back at the political Tinseltown in the mid-1970s when US cinema ‘didn’t pander to trends’
RON JACOBS welcomes a survey of US punk in the era of Reagan, and sees the necessity for some of the same today