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“At the first bullfight I ever went to,” Hemingway writes at the beginning of his 1932 nonfiction work Death in the Afternoon, “I expected to be horrified and perhaps sickened by what I had been told would happen to the
The last six years of Federico García Lorca’s life were marked in equal part by passion and politics. The former of these had always been an important part of his life. The latter was somewhat newer to it, and would
Last year’s Tiny Stadiums Festival featured a site-specific work of note. Applespiel, a collective of former University of Wollongong students, took up residence in the Erskineville Town Hall and, over the course of twelve days, transformed a colourful cardboard miniature
Harking back to the junkyard scenes in Jean-Luc Godard’s Sympathy for the Devil, only without the class consciousness, black militants and assault weapons, Verena Paravel and J.P. Sniadeck’s Foreign Parts provides a visually striking insight into class divisions. The myth of America as
One’s first impulse watching Mike Ott’s Littlerock is to think of it as a kind of inverse Lost In Translation. The two films mirror one another in a couple of ways. In Lost In Translation, two Americans, Bob and Charlotte, meet and become friends
About halfway through Tuesday After Christmas, I started thinking about divorce cinema, as a genre, and plotting out its contours in the pages of my notebook. (I am hardly the first to do so. There is a small but solid body
All pleasant break-ups are alike; each unpleasant break-up is unpleasant in its own way. Which is why the one at the heart of Sarah Enright and Simon Corfield’s Trapture is such a curious thing: by attempting to cover the unpleasant
It is always very tempting to turn a “moment” into a “movement”: the term “in-yer-face theatre”—which, despite being in your face, is actually rather tame when compared to the broader-based “theatre and blood and sperm” of which it was a