violence
Adam Sweeting
A sprawling French-made drama set in the early days of the First World War in 1914, Women at War tells the stories of a quartet of female protagonists as they struggle to make sense of the mayhem which suddenly engulfs them. The series – its French title is Les Combattantes – was filmed in the photogenic Vosges region of eastern France and is set around the town of Saint-Paulin (also the name of a semi-soft French cheese, as it happens), which finds itself perilously close to the front line as the Germans invade.Fans of top French cop show Spiral will be delighted to see the flame-haired Read more ...
Gary Naylor
It’s a long way from the dank chill of an English winter to the stultifying heat of a New Orleans summer, but we’ve been here before at this venue. Five years on from their award-winning Summer And Smoke, Rebecca Frecknall is back in the director’s chair and Patsy Ferran in the lead role for Tennessee Williams’ exploration of frailty and fear, A Streetcar Named Desire. The play (or, perhaps, the movie) has achieved the ultimate mark of iconic status, its very own parody episode in The Simpsons, so even those who have see neither version of this slice of Southern Noir will have Read more ...
Laura de Lisle
Do you remember how the 1001 Nights ends? You know how it starts: Scheherazade has been married to a king who kills his brides the day after he marries them. She tells him a story so good that he simply has to know what happens next, and she survives the next day. This goes on for 1001 nights, until… what?The inherently cyclical nature of the source material of the new play Hakawatis: Women of the Arabian Nights is a problem that writer Hannah Khalil never quite solves. But Pooja Ghai’s production at the Globe’s Sam Wanamaker Playhouse, a collaboration with theatre company Tamasha, is Read more ...
Matt Wolf
You expect gross-out movies to send your hands flying in front of your eyes. But Luca Guadagnino's ludicrous Bones and All is not just gory but grossly sentimental, too. Reuniting the Italian director with the star of his breakout hit Call Me By Your Name, the film finds a physical embodiment of its title in the wraithlike Timothée Chalamet, playing a cannibal-minded drifter who beneath his skin and bones is just a lost soul at heart. That it takes over two hours to get to that preordained fact is reason enough to forego a movie that wants to be provocative and edgy but merely Read more ...
India Lewis
Tense with horror and the sticky darkness of the Argentinian night, Mariana Enriquez’s writing is rich and occult. Her epic novel, Our Share of Night, vividly translated from the Spanish by Megan McDowell, follows on from her short story collections Things We Lost in the Fire and The Dangers of Smoking in Bed. In this, her first novel to be translated into English, she delves further into a lushly violent and erotic world.Our Share of Night is set in the aftermath of the Argentine military junta’s worst excesses. The book begins in 1981 (the dictatorship ended in 1983) and the Read more ...
Gary Naylor
Brecht – as I suppose he intended – is always a shock to the system. With not a word on what to expect from his commitment to the strictures of epic theatre in the programme, a star of West End musical theatre cast in the lead and a venue with a history of more user-friendly shows, some are going to have to sit up straight in their seats from the very start – including your reviewer.This new production, the first in London for 25 years, opens on a present day refugee camp, displaced people squabbling over who gets to go home first and what support they can expect when they get Read more ...
Mark Kidel
Director Mike Hodges's Get Carter (1971) has been praised as the best British gangster film. I would go even further, and put it up against the best gangster films of all time, on the same level as Lang’s The Big Heat (1953), Melville’s Le deuxième souffle (1966), Boorman’s Point Blank (1967), Polanski’s Chinatown (1974) and Scorsese’s Goodfellas (1990).Watching it again after many years, I was struck by how it continues to feel fresh and original Indeed, still ahead of its time, not least because of Wolfgang Suschitzky’s documentary-style location shooting and intimacy with the action Read more ...
Gary Naylor
We’re in New York City, in an upscale loft apartment, with that absence of stuff that speaks of a power to acquire anything. There are paintings on the walls, but we see only their descriptions: we learn that the owner (curator, in his word) really only sees the descriptions, too, and that the aesthetic and artistic elements barely register. The maid has been given the evening off – it’s soon obvious why – and an art dealer flits about nervously waiting for his client to arrive with a view toward arranging a significant purchase. The artist is Black; everyone else, indeed, Read more ...
Markie Robson-Scott
Nitram, Australian director Justin Kurzel’s deeply disturbing film about the man responsible for the Port Arthur massacre in Tasmania in 1996, seems especially topical after the Uvalde school shootings, one among several other shootings in the US in May.Martin Bryant, aged 28, killed 35 people and wounded 23 in the historic site of Port Arthur (he’s now serving concurrent life sentences without the possibility of parole). At the time, it was the deadliest mass shooting in history. No longer, of course. And at the end the film reveals that although Australia acted fast to change its gun laws, Read more ...
Hugh Barnes
Stanislav Aseyev is a Ukrainian writer who came in from the cold. Until the spring of 2014, he was an aspiring poet and novelist based in the eastern Donbas region: when, however, its main city and surrounding area fell under the control of pro-Russian militants, he began to document the alternative reality of life in the so-called Donetsk People’s Republic (DPR).Now collected and translated into English by Lidia Wolandskyji, his dispatches (written for the Mirror Weekly newspaper under the pen name Stanislav Vasin) provide a fascinating insight into the culture war at the heart of the fight Read more ...
Gary Naylor
Playwrights return to classical myths for two main reasons – to shine a light on how we live today and because they're bloody good yarns.Marina Carr's re-telling of Clytemnestra's story is boldly innovative in its conception and execution, but it never loses sight of its source material's power – and we wonder how, if "Enough is Enough" didn't work thousands of years ago, how is it going to work now?King Agamemnon needs to do something as his men are mustered for war and the blood is up, but the winds will not come to fill their sails for the passage to Troy. Worse still, a potential Read more ...
Laura de Lisle
When Bliss, a new play adapted from an Andrei Platonov short story by Fraser Grace, made its debut in Russia in early 2020, Cambridge-based company Menagerie were told that their production was “very Russian”.I’m no expert on Russian culture, but I would agree – in a good way. Paul Bourne’s production for the Finborough Theatre takes a while to warm up, but still packs a poignant punch.Nikita Firsov (Jesse Rutherford) has returned home from the Civil War to a post-apocalyptic landscape: rural Russia in 1921. There’s no food and almost no people. The price of stealing grain is execution, and Read more ...