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
Focus on women is a winner
Maria Duarte believes the 62nd edition of the festival has, without being memorable, provided some outstanding offerings
Sudabeh Mortezai’s Joy won the Best Film award
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
THIS year’s BFI London Film Festival celebrated female film-makers, with half the films in the official competition being directed or co-directed by women and Sudabeh Mortezai’s hugely affecting drama Joy (right) won the Best Film award.
For the first time the LFF staged a special presentation outside London with Mike Leigh’s stirring Peterloo screened in Manchester where the 1819 massacre took place.
Though apt, let’s hope this is a one-off because, if it isn’t, they will need to rethink the name of the festival and possibly drop London.
Similar stories
DENNIS BROE finds much to praise in the new South African Netflix series, but wonders why it feels forced to sell out its heroine
Including races at Goodwood, Newmarket and Thirsk
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright
