JAMES WALSH recommends an exceptional documentary about the experience of Western doctors in Gaza
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Disjointed monster
SUSAN DARLINGTON isn’t convinced that the many parts of Frankenstein fit together in a new production
Georgia-Mae Myers and Nedum Okonyia in Frankenstein
[Ed Waring]
KEVIN DONNELLY suggests that the task of transforming cultural spaces is far from over and that photography still has a key role to play
RITA DI SANTO talks to Scottish-Irish filmmaker MARK COUSINS about his new panorama of world cinema The Story of Documentary Film
ALAN MORRISON welcomes a new collection from the most imaginative and committed ecopoet of our time
CAL McBRIDE relishes the lyrical truth of an unstable identity in an over-tidy and conventional social realist treatment
New releases from Shearwater, Florry, and Navy Blue
CHRIS SEARLE welcomes a startling vision of contemporary Newport from a veteran photographer of the British working class
TWO hundred years after its publication, Mary Shelley’s Frankenstein still has the power to reflect contemporary fears and anxieties.
Poor Things, adapted from Alasdair Gray’s 1992 book, is currently box office gold at the cinema with its update of what it means to be human. Production company Imitating the Dog, meanwhile, has approached the gothic sci-fi classic with what it terms a “psychologically thrilling remake.”
The company has form in adapting standards, having previously staged a shot-for-shot recreation of George A Romero’s Night of The Living Dead, and Dracula: The Untold Story. These shows placed multimedia exploration at their heart, to thrilling and memorable effect.
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