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
Latest editorial
Italian job well done in Bari
RITA DI SANTO reports on the best of the city's international film festival
Pure Hearts
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
DEEP in the hustle and bustle of the port of Bari in southern Italy beats a cosmopolitan heart and at its centre is the Bari international film festival BIFEST, now in its ninth year.
This time round, BIFEST featured the work of directors of the calibre of Gianni Amelio, Marco Bellocchio and Ferzan Ozpetek, alongside rising talents such as Vincenzo Marra, Paolo Sassanelli, Roberta Torre and Roberto De Paolis.
Special events included a concert paying homage to Alberto Trovajoli, one of the great Italian film composers, a restored version of Bernardo Bertolucci’s Last Tango in Paris and a retrospective on maverick director Marco Ferreri.
Similar stories
GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
RITA DI SANTO takes us through the prize winners, and takes the temperature of a festival that prioritised narratives of exile, state violence and class division
Rita Di Santo speaks to Hungarian director LASZLO NEMES about his new film, a portrait of the French Resistance leader and hero, Jean Moulin
RITA DI SANTO gives us a first look at some extraordinary new films that examine outsiders, migrants, belonging and social abuse