Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Migrants highlighted in Festival opener
RITA DI SANTO applauds a touching and witty opener that touches a hot topic in Germany: the future of the immigrant population
light
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
Peter Mitchell's photography reveals a poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
The Light
Directed by Tom Tykwer
THIS year’s Berlin Film Festival opens with Tom Tykwer’s The Light, where a modern Mary Poppins, a Syrian housekeeper with a powerful device, rescues a dysfunctional German family.
Set in bustling modern Berlin, the film immerses viewers in the chaos of contemporary life. The main characters belong to a middle-class family, the Engels. Tim and Milena are a couple who have lost their once-strong connection. Milena often travels to Kenya for an artistic project, while her husband focuses on his advertising career.
Their children, 17-year-old twins Frieda and Jon, and the youngest, eight-year-old Dio, embody the new generations, grappling with the complex world and their future.
More from this author
While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID
ANGUS REID recommends an exquisite drama about the disturbing impact of the one child policy in contemporary China
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
