21st century
Mark Kidel
I am a sucker for Malian singers. I have been ever since I made a couple of films there at the end of the 1980s. According to ancient tradition, the jalis, and other singers have a mission: to open the hearts of those who hear them, and to fill them with healing and courage. Thirty years on, Rokia Koné keeps the flame going and touches me in the same way. Her first solo album, the highpoint of the year for me is, a collaboration with US producer Jacknife Lee, who brings to the combination exquisite taste and a profound complicity with West African soul. He is always at the service of the Read more ...
Sebastian Scotney
Movie-watchers are wallowing in the back catalogues. I hunted down theartsdesk's readership stats for the film reviews I’d written this year. Top of the list was not a new release at all, but the new extras-loaded Blu-ray version of Bertrand Tavernier’s 'Round Midnight (1986).Which makes me feel slightly less guilty for going back this year again and again to the softest cinematic comfort blanket I know, Jacques Demy’s Les Demoiselles de Rochefort (1969). In new films I didn't review, I was entranced by the compelling performance of Renate Reinsve as the woman whose Read more ...
Graham Fuller
Empires rise and fall; every dog has its day. The increased awareness of and need for diverse voices – together with the series-driven streaming revolution – has made Hollywood less relevant now than it has been at any time since the industry colonised Southern California's orange groves. Even stars have become an endangered species.I enjoyed Licorice Pizza, The Fabelmans, and Bullet Train (until its awful last scene), but the films listed below speak with an urgency avoided by American mainstream movies with their escapist imperative – She Said being a grave, classy Read more ...
Saskia Baron
I struggled to find enough features this year for a top 10, probably because Covid’s long shadow made it harder for filmmakers to get interesting work on screen. But there are several documentaries with fascinating characters, untold stories, excellent cinematography (All that Breathes) and ingenious editing (Three Minutes: A Lengthening) that have been as moving and absorbing as any fiction film. The dramas that I’ve loved have also been drawn from life, using non-professional actors (Tori and Lokita, Utama) to highlight the vile exploitation of immigrants and the effects of climate Read more ...
India Lewis
Major Labels: A History of Popular Music in Seven Genres is American critic Kelefa Sanneh’s ambitious survey of musical history. As such, it risks remaining only a surface-level summary of the seven genres he describes. I was wrong to worry, though: despite its broad coverage, Sanneh’s study is informative and personal, providing overviews of but also covering smaller diversions and developments within rock, R&B, country, punk, hip-hop, dance and pop.Each chapter loops back to the other genres to show their points of divergence, before travelling forward to explore the roads of sub- Read more ...
Graham Fuller
The cartoonist Gerald Scarfe – or his equally mordant forebear George Cruikshank – couldn’t have drawn a seedier Eurotrash excrescence than the crooner, Richie Bravo, who dominates Ulrich’s Seidl’s Rimini.A hasbeen still purveying his Eighties-style Schlager pop to his few surviving female fans, porcine Richie – he of the dirty-blonde mane, sealskin coat, sexagenarian bloat, and oily seduction shtick – rivals in cringeworthiness the Demis Roussos lusted after by Beverly in Abigail’s Party.The wrinkle in Seidl’s latest chilling satire of moral baseness is that Richie (played by fellow Read more ...
Sebastian Scotney
Mathieu Amalric's Hold me Tight (Serre moi fort) keeps springing surprises. Perhaps the first is the title. It sounds like an invitation to settle down with the popcorn to enjoy a light French film dealing with intimacy. Not even close. It's a quote from a song by Étienne Daho. Apparently, Amalric could just as well have called it the opposite: “Serre moins fort” (hug less tight). He has also said the ideal title (“if it hadn’t already been taken” by Douglas Sirk) would have been Imitation of Life.That is telling. The film is a melodrama, a constant Read more ...
Hugh Barnes
On April Fool’s Day, in 1978, the godmother of American punk, Patti Smith, jumped offstage at the Rainbow Theatre in London halfway through a version of “The Kids Are Alright” and started dancing in the crowd. Her vertiginous feat was also a leap of the imagination, a typical punk act that seemed to collapse the distance between performer and audience.The kids were definitely all right with this sudden unexpected proximity to their idol – and I can say that because I was one of them. Indeed I remember being struck by the way her guitarist and collaborator Lenny Kaye seamlessly picked up the Read more ...
Gary Naylor
The kitchen sink drama has been a standby of English theatre for 70 years or more, but not always with an actual sink on stage. But there it is, in an everyday home that harbours a secret or two in Clive Judd’s debut play, the winner of the 2022 Papatango New Writing Prize. Matt, distracted and not wholly at ease, pitches up unannounced at the house in which he grew up, just outside Kidderminister, one of the more faceless towns in one of the more faceless regions of England. His cousin, Jess, seems listless, neither pleased nor displeased to see him some two years after last he was in Read more ...
Robert Beale
Is Artificial Intelligence pointing the way to musical composition in the future? The BBC Philharmonic, conductor Vimbayi Kaziboni and colleagues at the Royal Northern College of Music made a case for it in this concert.The highlight of the college’s Future Music festival, the programme celebrated the fifth anniversary of PRiSM (the centre for Practice and Research in Science and Music) at the RNCM, and also the supposed centennial of the orchestra itself. It presented two works by Emily Howard, PRiSM’s director: Antisphere (from 2019) and Elliptics, a setting of a poem by Michael Read more ...
Saskia Baron
The London Film Festival ended with the announcement of assorted prizes, all well-deserved. My colleague Demetrios Matheou has already written here about the Chilean political thriller, 1976, which won Best First Feature, and we’ll be writing in depth about the Best Film winner, the Austrian historical drama Corsage, when it opens at the end of the year. I was most pleased that All that Breathes was awarded the Grierson Award for Documentary. This moving, subtle, and beautifully made portrait of two brothers in Delhi who dedicate their lives to saving Read more ...
Robert Beale
Within its own aspirations, Orpheus is a complete triumph. “Monteverdi reimagined”, as Opera North subtitled it from the start, is an attempt to unite (and contrast, and compare, and cross-fertilise) early baroque opera with South Asian classical music.That’s a big ambition, as the two might seem to have little in common. But Anna Himali Howard’s simple production concept of a marriage celebration, where Orpheus is a white British guy and Eurydice an Asian girl, set in the back garden of a semi-detached house – probably in Leeds – is a symbol of the whole enterprise.The design (Leslie Travers Read more ...