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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Film round-up
Reviews of White Colour Black, Bad Tales, Sator and Burn it All
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
White Colour Black (15)
Directed by Joseph A Adesunloye
★★★
THE idea of identity — who we are, where we come from and where we belong — especially in the wake of Brexit, is explored in this moving and powerful debut feature by writer-director Joseph A Adesunloye.
The film is loosely based on the British, Nigerian-born filmmaker’s own experiences and is seen through the eyes of London-based photographer Leke (champion boxer turned actor Dudley O’Shaughnessy) who is of mixed race and who, on learning of his estranged father’s death, is forced to return home to Senegal and his dad’s village.
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