race issues
emma.simmonds
Sadly the battle to shape stories from a female perspective, or even to tell stories about women is far from over. The Centre for the Study of Women in Television and Film at San Diego State University recently found that women represented only 15 percent of protagonists in the 100 top-grossing films of 2013. If we look closer to home the most recent BFI statistics put the percentage of female directors working in the UK at just 8 percent (that's based on films released in the UK in 2012) - meaning this is even rarer than you'd think. So for a film to be directed by one woman and to Read more ...
Tom Birchenough
We see the harshness of everyday life in Danis Tanović’s An Episode in the Life of an Iron Picker first in its snowy, subsistence landscapes, as hero Nazif goes out to the forest to bring in whatever wood he can find to keep the family home warm. But by the end of the film, which took the Jury Grand Prix at last year’s Berlinale, we have seen, much more chillingly, the harshness of human behaviour.Nazif and his wife Senada are from Bosnia’s Roma community, living with their two young daughters in a remote village. Home life is happy, even if sparse in comforts, and Senada is pregnant. Nazif Read more ...
Kieron Tyler
Once in his stride as a director, Samuel Fuller never shied away from the controversial. The mental-hospital set Shock Corridor, from 1963, prefigured One Flew Over the Cuckoo’s Nest and touched on the arms race, incest, racism and the Korean War. A year later, his Naked Kiss sympathetically portrayed a prostitute. The final film he made in America, 1982’s White Dog, also pulled no punches and met the nature of racism head on. In some quarters of the press it was trailed as itself being racist. It was not released in America. Fuller then upped and offed to France where he had long been hailed Read more ...
Heather Neill
The full title of Jackie Sibblies Drury's play, first produced in Chicago in 2012, is deliberately gauche and in need of editing. No review is complete without it, however, so here it is: We Are Proud To Present A Presentation About The Herero of Namibia, Formerly Known As Southwest Africa, From The German Sudwestafrika, Between The Years 1884 - 1915. As they enter through the rehearsal room at the Bush, the audience encounters the group of well-intentioned young people supposedly keen to tell us the tragic story of the first genocide of the 20th century. The walls are covered, as they Read more ...
Matthew Wright
Anyone familiar with Mark Kermode’s reviewing will already have heard his adulation of Steve McQueen’s latest film, 12 Years a Slave. An edition of The Culture Show dedicated to McQueen’s career could, then, have gone a bit weak at the knees in veneration. Instead, it roamed freely, making many intelligent connections across McQueen’s restless artistic journey from Turner Prize-winning video artist to hotly tipped Oscar shoo-in.That’s just one of the very many ways in which McQueen breaks new ground, in what’s becoming a really remarkable career. Rather than letting his artistic success Read more ...
emma.simmonds
Some films quite rightly have awards glory etched into their DNA, and when the admirably uncompromising Steve McQueen announced that his next project, focussing on the subject of slavery, would feature that cast, only a fool would have bet against it collecting armfuls of prizes. Moreover, the brutality and societal impact of slavery has seldom been seen on screen; thus in the words of its director, 12 Years a Slave fills "a hole in the canvass of cinema".Based on the memoir by Solomon Northup (as told to David Wilson) and adapted for the screen by John Ridley, 12 Years a Slave sees an Read more ...
Nick Hasted
It took the last 16 years of Nelson Mandela’s life, almost to the day, to bring his autobiography to the screen. South African producer Anant Singh eventually handed Mandela: Long Walk to Freedom to British director Justin Chadwick and screenwriter William Nicholson to make a film for international audiences. The iconic weight of a violent rebel who became a living saint can’t wholly be thrown off in this authorised (though freely made) biopic. It does, though, remind you that Nelson Mandela was very far from Mother Teresa. Rough and earthy struggle preceded his Robben Island refinement into Read more ...
Karen Krizanovich
As a movie it’s a little too neat and a little too worthy but as a benchmark The Butler is a triumph with a strong cast. Director Lee Daniels doesn’t get arty with this story of racial divide and American unrest. Roughly based on the real-life story of Eugene Allen, Daniels' approach is straightforward and highly emotive. There’s plenty for the crowd here, and, like Joseph Gordon-Levitt’s Don Jon, the fact that The Butler is accessible across almost every demographic will get its message through to those who need to see it - those who maybe wouldn't see it if it were, say, art house. In some Read more ...
aleks.sierz
One of the best kept secrets about contemporary theatre is that audiences rather like short plays. Of course, there’s nothing wrong with epic classics, but sometimes it makes a change to witness a playwright who has something to say and manages to say it with economy in 90 minutes or less. New writing’s master of this trend is Debbie Tucker Green, whose plays don’t linger too long on stage, nor do they burden you with an interval. Her latest, Nut, is typically short, just 70 minutes — but is it any good?Elayne, a young black woman, is depressed. When the plays starts she is discussing Read more ...
kate.bassett
Forever breaking into song and dance, musicals are fun, fun, fun. They are primarily what folks go to for uplifting entertainment, are they not? Actually, many of the best aren't anything like that simplistic. Opening at the Young Vic last night, The Scottsboro Boys is no mere barrel of vacuous laughs, though it is comical and buoyant along the way.With its score and lyrics by America’s John Kander and Fred Ebb, and its book by David Thompson, this is a barbed biomusical about racism and miscarriages of justice. Set in the Deep South of the 1930s, it plays – sometimes very sharply – with the Read more ...
Sarah Kent
American ladies, in the 18th and 19th centuries, passed their time in fashionable pursuits such as embroidering samplers and cutting out portraits of family and friends. Harking back to those days, Kara Walker has covered three walls of the Camden Arts Centre with a panoramic installation of cut-paper silhouettes, which she calls Auntie Walker’s Wall Samplers (main picture and below right: Auntie Walker’s Wall Sampler for Savages). Instead of sharing genteel pleasantries, though, she dishes the dirt on the plantation-owning white elite. Her top-hatted gents and southern belles may dance Read more ...
Nick Hasted
Awful crimes are being committed in an Australian outback town: young girls murdered, and dumped in culverts. But what makes it worse for Aboriginal detective Jay Swan (Aaron Pedersen), newly returned to his small hometown from the city, is the barely coded and bare-faced racism he encounters, from his cop colleagues most of all; the sense that these girls, because they’re Aboriginal too, don’t matter. They’re just expendable pawns in bigger, evil games being played out in eerie countryside, and the parched streets of an Aboriginal part of town which looks like it’s been left in the sun to Read more ...