Reducing historical lives to ‘male’ and ‘female’ roles, we lose the nuance of those lives and a clearer understanding of past societies, suggests CLAIRE ISABELLA GILMOUR
Latest editorial
Seville Film Festival
Radical European cinema takes centre stage
Perplexed: Elia Suleiman in It Must Be Heaven
CHRIS SEARLE relishes the genius of pianist Alexander Hawkins, his many ensembles, and his new album
New releases from The Mountains Goats, Ed O’Brien, and YHWH Nailgun
ANGUS REID, ANDY HEDGECOCK and MARIA DUARTE review On The Sea, A Useful Ghost, Brunello: The Gracious Visionary, and Pinocchio Unstrung
RON JACOBS enjoys a great tale, told by a US communist, of the lives of working-class New Yorkers
BRENT CUTLER searches a new history of contemporary Iran for an understanding of the Islamic Republic, finding both interesting detail and glaring omissions
MARIA DUARTE recommends the true story of the remarkable woman who sued Donald Trump for sexual assault not once, but twice
THE SEVILLE Film Festival showcased more than 200 films during its run last week, among them Spanish icon Pedro Almodovar’s Pain and Glory and Palestinian Elia Suleiman’s It Must Be Heaven.
Almodovar’s quasi-autobiographical drama focuses on a former film director who, back in the day, confronted Spain’s repressive attitudes, while Elia Suleiman's It Must Be Heaven is a perplexed and comic look at his surroundings as he embarks on a globetrotting tour which takes in some absurd scenarios.
In a film he’s written and in which he is protagonist, Suleiman comes across as somewhere between Buster Keaton and Jaques Tati as he explores the Palestinian experience.
Similar stories
ANGUS REID, ANDY HEDGECOCK and MARIA DUARTE review On The Sea, A Useful Ghost, Brunello: The Gracious Visionary, and Pinocchio Unstrung
KEVIN DONNELLY and MARIA DUARTE review Shoot the People, The Last One For The Road, Rosebush Pruning, and Moana
RITA DI SANTO talks to Scottish-Irish filmmaker MARK COUSINS about his new panorama of world cinema The Story of Documentary Film
RITA DI SANTO takes us through the prize winners, and takes the temperature of a festival that prioritised narratives of exile, state violence and class division