The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
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Follow the Movement: August 16, 2023
Matthew Hawkins reviews of A Couple of Humans, Party Scene, You & Me, Woodhill
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JOHN GREEN explores the argument that psychiatry needs to move away from the idea of just seeing and treating the individual
SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
NINE years in the making, Whole Hog’s official version of Makoto Shinkai’s 2013 anime film is a love story based on the original Japanese “koi,” meaning love as a longing for someone in solitude rather than the later, Westernised idea of romance. The engaging story explores seven individuals living in the crush of a metropolis struggling to connect to those that are close to them.
The “everyperson” inference in the work’s title does not fully summarise this pair’s idiosyncratic honing of a presentation that could be described as live sculpture or off-beat installation.
They feature low-tech knits and nylons. They deploy lavish live camera-work and deft illusion. They obsessively make a world of surprise and wonder that proffers universal access.
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