CATHERINE STEEL relishes a compelling novel about Augustus’s right hand man, but misses the politics, the cultural shifts, and more detail about his restoration of Rome
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Fingers on society’s pulse
Two films at the 36th Moscow International Film Festival give intriguing insights into Russian life, says RITA DI SANTO
TONY BURKE speaks to JOEL McIVER, co-author of the biography of bluesman John Mayall
A misfit couple unhappily ever after, a dead man walking, dodgy journos, and trench art trucking
New releases from Javon Jackson, IZE Trio, and Mal Waldron Trio
PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
EWAN CAMERON marvels at the impossible ambition, realised with dreamlike finesse of translating Italo Calvino to the stage
IT’S always intriguing to see how cinema acts as a barometer of the times and perhaps not surprising that two of the most awaited films among the 16 in competition at the Moscow International Film Festival were Russian.
Vladimir Turmayev’s White Yegel, set in the the icy, treeless wastes of the tundra, tells the story of Aloshka. He’s a young man of the Nenets people, an ethnic minority in Siberia.
He lives with his mother and, despite his love for his ex-girlfriend who left their homeland to study, he is forced by his parent to marry. Yet every day Alyoshka checks the road, hopelessly waiting for his love to return.
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