RUTH AYLETT recommends two anthologies: one that bears witness to refugee and immigrant experiences, and the other to our political relationship to water
Error message
An error occurred while searching, try again later.Film round-up: August 22, 2024
Gangs, flat champagne, nightmare island and completely cuckoo: the Star's critic MARIA DUARTE reviews new releases Cadejo Blanco, Widow Clicquot, Blink Twice and Cuckoo
SETH SANDRONSKY appreciates a fresh take on a 100-year-old novel that helps to contextualise the current moment of conspicuous wealth, waste and climate chaos
A no-nonsense ex-Garda female cop, Scandi-noir’s newest flawed hero, the lure of Aussie gold, and unexpected decency in Silicon valley
JAN WOOLF doubts that soft-core musical is the best way to transmit an important story of heroism and resistance
Reviews of Ella Fitzgerald, My Morning Jacket, and Toria Wooff
GORDON PARSONS admires a version of Marlowe’s grim tragedy that strips it down to its gay essentials
When Cassy’s father fails to connect with his daughter — and misses out on
an evening in the Bitter End — a stranger’s self-mocking charm brings seething resentment.
Cadejo Blanco (15)
Directed by Justin Lerner
★★★★
THIS quietly powerful and uber-tense thriller provides a fascinating insight into the workings of gangs in Guatemala.
Written and directed by Justin Lerner, and his first film in Spanish, it follows Sarita (Karen Martinez, Our Mothers) a teenage working-class girl from Guatemala City who travels to Puerto Barrios in search of her missing sister Bea (Pamela Martinez).
More from this author
The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
A landmark work of gay ethnography, an avant-garde fusion of folk and modernity, and a chance comment in a great interview
ANGUS REID applauds the inventive stagecraft with which the Lyceum serve up Stevenson’s classic, but misses the deeper themes