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Borrowed Time: Lennon’s Last Decade, Parthenope, Where Dragons Live and Thunderbolts* reviewed by MICHAL BONCZA and MARIA DUARTE
Guernica, 85 years on
JENNY FARRELL examines the detailed symbolism within Picasso's iconic anti-war and anti-fascist painting
CHRIS SEARLE wallows in an evening of high class improvised jazz, and recommends upcoming highlights in May
MARY CONWAY applauds the revival of a tense, and extremely funny, study of men, money and playing cards
MEHDI ACHOUCHE explores the constant fascination of cinema with Marxist alienation from Fritz Lang and Chaplin to Bong Joon Ho
FIONA O’CONNOR steps warily through a novel that skewers many of the exposed flanks of the over-privileged
MARY CONWAY applauds the study of a dysfunctional family set in an Ireland that could be anywhere
MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
THERE are a handful of pictures that may be said to be almost universally known. They include Leonardo’s Mona Lisa, Edvard Munch’s The Scream and Picasso’s Guernica. The last was painted eight five years ago this month.
On April 26, 1937, the small Basque town of Guernica was annihilated by German bombers.
The Spanish painter Pablo Picasso, long based in France, heard of this act of terror on April 28 and began initial sketches in response to this atrocity on May 1. It became the painting Guernica.
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