thu 13/02/2025

family relationships

theartsdesk Q&A: Iranian director Mohammad Rasoulof on 'The Seed of the Sacred Fig' - 'It became a question of self-respect'

Iranian director Mohammad Rasoulof is now an Oscar-nominated refugee, in a bittersweet harvest for his film The Seed of the Sacred Fig.The 52-year-old has previously probed the moral cost of his country’s dictatorship in Manuscripts Don’t Burn (2013...

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Elektra, Duke of York's Theatre review - Brie Larson's London stage debut is angry but inert

We live in tragic times given over to cataclysmic events that require outsized emotions in return. That may be one reason to account for the uptick, therefore, in Greek drama, which includes not one but two Oedipi, various adaptations of Antigone,...

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Bring Them Down review - ramming it home in the west of Ireland

“You know what they say: where there’s livestock, there’s dead stock,” says Jack (a brilliant Barry Keoghan). Never a truer word. There’s an awful lot of dead and maimed stock – sheep, to be precise – in Christopher Andrews’ gory, gloom-ridden...

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Second Best, Riverside Studios review - Asa Butterfield brings the magic

Your response to Barney Norris’s one-man play, based on David Foenkinos’s bestselling novel as translated by Megan Jones, probably depends on which of the Gens is yours. The Gen Zs might turn a nose up, Joanne Rowling something of a discredited...

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Mrs President, Charing Cross Theatre review - Mary Todd Lincoln on her life alone

The phenomenal global success of Six began when two young writers decided to give voices to the wives of a powerful man, bringing them out of their silent tombs and energising them and, by extension, doing the same for the women of today. Its...

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Catherine Airey: Confessions review - the crossroads we bear

Anglo-Irish author Catherine Airey’s first novel, Confessions, is a puzzle, a game of family secrets played through the generations. Set partly in New York and partly in a small town in Donegal, the book moves back and forth through time and space...

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Presence review - Soderbergh's haunted camera

The camera is the ghost in Steven Soderbergh’s 35th feature, waiting in a vacant house for its buyers, ambitious Rebecca (Lucy Liu, pictured bottom), her favoured teenage son Tyler (Eddy Maday), cowed husband Chris (Chris Sullivan) and troubled...

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Cymbeline, Sam Wanamaker Playhouse review - pagan women fight the good fight

There’s not much point in having three hours worth of Shakespearean text to craft and the gorgeous Sam Wanamaker Playhouse as a canvas if you merely intend to go through the motions, ticking off one of the canon’s less performed works. The question...

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The Lonely Londoners, Kiln Theatre review - Windrush Generation arrive in a London full of opportunities, but not for them

As something of an immigrant to the capital myself in the long hot summer of 1984, I gobbled up Absolute Beginners, Colin MacInnes’s novel of an outsider embracing the temptations and dangers of London.Written a couple of years earlier and set a...

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The Maids, Jermyn Street Theatre review - new broom sweeps clean in fierce revival

There are two main reasons to revive classics. The first is that they are really good; the second is that they have something to say about how the world is changing, perhaps more accurately, how our perception of it is changing. Both are true of...

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The Split: Barcelona, BBC One review - a soapy special with seasonally adjusted sentimentality

Maybe it was the timing, even though most of the action takes place in bright sunlight, that made The Split’s two-parter uncharacteristically soft-centred. This was a Christmas-but-filmed-last-summer special, often a guarantee of a mushy mash-...

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Natasha, Pierre & the Great Comet of 1812, Donmar Warehouse review - a blazingly original musical flashes into the West End

Broadway shows sometimes hit the West End like, well, like a comet, burning brightly but briefly (Spring Awakening, for example), while others settle into orbit illuminating Shaftesbury Avenue with a neon blaze every night for years.So it might be a...

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