satire
Hannah Hutchings-Georgiou
Scrolling to the top of my Twitter DMs, most of which are from close friends or acquaintances, I notice the message request section flash “1”. It’s a signal I usually ignore, having learnt from past mistakes that what ends up in this screened-off section isn’t, as Twitter’s privacy settings rightly intuit, worth my attention.This time, however, I press on the notification, see the message and laugh. “Hi you are so beatifoul” the request reads alongside a small profile pic of a pale, sour-faced-looking male. Laughter turns to cackling (the LMAO-kind) much to the annoyance of those around me, Read more ...
Boyd Tonkin
As Walter Huston croaked in 1938, it’s a long, long while from May to December. And Kurt Weill – who wrote his evergreen “September Song” for Huston in that year – spanned several musical epochs within not so many years as he travelled from the Weimar avant-garde to Hollywood and Broadway.At the Barbican, Simon Rattle’s all-Weill evening with the London Symphony Orchestra followed the composer’s obstacle-strewn but often triumphant journey in a programme that culminated in Weill’s “ballet chanté” The Seven Deadly Sins, with Magdalena Kožená (Lady Rattle) as the soloist. For Rattle, Weill’s Read more ...
Veronica Lee
It was inevitable that someone would soon tackle the question of how does Hollywood start behaving in the post-MeToo world, but few would have put money on a comedy drama starring Steve Coogan, the creator of Alan Partridge. But here it is, a whip-smart satire he co-wrote with Sarah Solemani, who also stars as Bobby, the indie filmmaker who is the polar opposite of his old-school (for which read, attracted only to women half his age) film producer Cameron.The neat contrivance that brings these two odd-bods together is when he hires her to detoxify a film he is making with Pierre, another Read more ...
Helen Hawkins
When the English-language version of Dix Pour Cent (aka Call My Agent!) was announced, my cafe au lait went down the wrong way. The French TV comedy about machinations at a top-flight Parisian talent agency is a miraculous mix of insouciant charm, an hommage to France’s beloved cinema history and a lot of naughty fun, with just a hint of sadness at its core. It’s so indelibly French, who on earth would want to anglicise it? People who simply can’t cope with subtitles? People who don’t understand that there is a cultural density to even the lightest TV froth that can’t be converted into Read more ...
Gary Naylor
When Rhum + Clay conceived this show, the idea of a comic becoming a political leader might have prompted thoughts of Boris Johnson's carefully cultivated buffoonery on "Have I Got News For You" and elsewhere. Since then, a certain Volodymyr Zelenskyy has given politician-comedians a rather better name. Comedy, as is so often the case, is in thrall to timing.Such thoughts may be inevitable as Matt Wells' attempts to create a show detailing his philosophy of political leadership are repeatedly subverted by his stage assistant, Julian Spooner, who wants politics to be "fun" (main picture Read more ...
aleks.sierz
History is a prison. Often, you can’t escape. It imprints its mark on people, environments and language. And nowhere is this more true that in Northern Ireland, where the history of conflict between the Republican Catholic community and the Loyalist Protestant community is both centuries old, and still raw from the legacy of The Troubles. Kate Reid’s new play, which premiered at the VAULT festival in 2020, and now resurfaces in a co-production between Park Theatre and Plain Heroines, gives a meta-theatrical spin – with the cast also including the playwright – on both the legacy of Bloody Read more ...
Gary Naylor
Charles Dickens and Martyn Jacques is a marriage made in heaven (well, hell I suppose): the Victorian novelist touring the rookeries of Clerkenwell the better to fire his imagination and, 150 years or so later, the post-punk maestro mining London's netherworlds for his tales of misfits and misdeeds.So it's no surprise to see The Tiger Lillies bring their unique sensibility to A Christmas Carol, Jacques' song cycle taking us into the head of the miser, Ebenezer Scrooge, paring the tale back to its psychological trauma and its bitter social critique. The Lillies' leader is front and centre, of Read more ...
Graham Fuller
Though sexual hypocrisy in modern-day Romania is the ostensible target of Bad Lack Banging or Loony Porn – a satirical drama that enfolds a scattershot polemic – Radu Jude’s tenth film is broadly concerned with the nation’s all-enveloping post-Communist malaise. Nationalism, fascism, militarism, anti-Semitism, misogyny, and capitalism are all grist for the mill in this withering provocation.It begins with a thirtysomething married couple’s enthusiastically acted hardcore home-made sex tape. Emi (Katia Pascariu), the wife, wears a leopard-print mask and a pink wig and performs fellatio on her Read more ...
Daniel Baksi
Eight-years passed between the publication of Wole Soyinka’s debut novel, The Interpreters (1965), and his second, Season of Anomy (1973). A lot happened in the interim. One of Nigeria’s most resilient critics of corruption and dictatorship, Soyinka was arrested in 1965 for raiding a radio station at gunpoint, and replacing a tape of a recorded speech by the then-president of Western Nigeria, Ladoke Akintola, with another – accusing Akintola of electoral malpractice. The crime brought two years in solitary confinement for Soyinka, who was released a few months later, Read more ...
Demetrios Matheou
The Nest is a peculiar animal, hard to nail down, parts family drama and social satire, but with a creepy sense of suspense rippling under the surface that threatens to bust the plot wide open. The fact that it’s written and directed by Sean Durkin (Martha Marcy May Marlene, Southcliffe) makes sense of the unease. But at the film's heart is an old-fashioned marital tussle, between an independent, no-nonsense American woman and her posturing, bullshitting, over-striving English husband, each performed with nuance and gusto by Carrie Coon and Jude Law. You could cut the Read more ...
Owen Richards
We’ve all experienced the “fast food film” – enjoyable while we watch it, but realise afterwards it was an empty thrill with little nutritional value. Much rarer is the film that can only be truly appreciated once the credits roll. Black Bear, with its segmented presentation and recurring themes, is one such film. Risky, baffling, and more than the sum of its parts.Aubrey Plaza stars as Alison, a director staying at the rural house of artsy couple Blair and Gabe (Sarah Gadon and Christopher Abbott). She’s acerbic, ironic, and an agitator in this combustible household. Or is Plaza in fact Read more ...
Veronica Lee
Oscar Wilde's fabulous play satirised Victorian England and contained a shedload of quotable quips. Now Yasmeen Khan has written an updated and uprooted version, set in the North of England, which takes aim at any number of class and ethnic stereotypes.The joint production (by the Lawrence Batley Theatre in Huddersfield and The Dukes, Lancaster) is set, the onscreen captions tell us, “somewhere in a posh bit of the North" and “somewhere else in the North” and a running gag has several characters saying: “I'll go to the foot of our stairs. No, nobody says that.” Other lines upend British-Asian Read more ...