EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
Cannes misses the mark
Although impressed by the overall quality of the films on offer, RITA DI SANTO believes Jean-Pierre and Luc Dardenne’s Tori and Lokita merited the Palme D’Or
(L to R) Baptiste Sornin, Pablo Schils as Tori and Mbundu Joely as Lokita
[Cannes Film Festival]
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
THE 2022 Palme D’Or at Cannes Film Festival went to Ruben Ostlund’s Triangle Of Sadness, the Swedish director’s second triumph, after winning with The Square in 2007.
A provocative social satire, this is an energetic, wacky examination of class, gender norms and culture, as well as an attack on the social pre-eminence of beauty and wealth.
It follows two fashion models, who explore their role in each other’s lives. The title refers to the Botox-ready space between the eyebrows on fashion models.
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