EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
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No turning back
A major retrospective of films by Rainer Werner Fassbinder confirms
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
“I KNOW you can’t talk. That’s what I like best.” So says Hanna Schygulla’s character Marie in Katzelmacher, Rainer Werner Fassbinder’s second feature film.
She’s addressing Greek “guest worker” Jorgos, played by Fassbinder, who disrupts the lives of an aimless, alienated friendship group in Munich.
Like all of Fassbinder’s films, it sets out to interrogate the prejudices and unspoken crises of post-war German society.
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