Articles
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1 week ago |
theguardian.com | Phil Hoad
About as inside-baseball for visual arts as you can get, Mariano Llinás’s three-part portrait of Argentinian art collective Mondongo is knackering, infuriating and, infuriatingly, often brilliant – especially in its more sincere second instalment. The film nominally tries to document Mondongo’s 2021 Baptistery of Colours project, in which the artists catalogued the chromatic spectrum with plasticine blocks inside a dodecahedron chapel.
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2 weeks ago |
theguardian.com | Phil Hoad
‘It’s basic detective work,” says veteran smalltown cop Stanton (Charles Dale), trying to justify pressurising a lead about her love life. “Very fucking basic,” says Patch (Andrea Hall), a London colleague who has come to the sticks because of a possible connection with a grisly serial killer.
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2 weeks ago |
msn.com | Phil Hoad
Microsoft Cares About Your PrivacyMicrosoft and our third-party vendors use cookies to store and access information such as unique IDs to deliver, maintain and improve our services and ads. If you agree, MSN and Microsoft Bing will personalise the content and ads that you see. You can select ‘I Accept’ to consent to these uses or click on ‘Manage preferences’ to review your options and exercise your right to object to Legitimate Interest where used.
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2 weeks ago |
theguardian.com | Phil Hoad
Developed by China’s Supreme People’s Procuratorate and directed by butt-kicking luminary Donnie Yen, The Prosecutor is a bizarre mashup of courtroom procedural and action flick; it is just as keen on lionising due process and the “shining light” of Chinese justice as it is on reducing civic infrastructure to smithereens in several standout bouts. But Yen, who looks undeniably good in a suit, is more convincing on his habitual fisticuff grounds than the jurisprudential ones.
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3 weeks ago |
theguardian.com | Phil Hoad
Hovering between memoir, docu-essay and drama, Serbian artist Iva Radivojević’s third feature opens with a phone call that changes everything. Eleven-year-old Lana (a proxy for Radivojević, played by Natalija Ilinčić) receives the news that her grandfather has died; home alone, she is told by the speaker to communicate that to her mother. The Bakelite clock on the wall says it is precisely 10.36am on a Friday in 1992, “when the country of X was still a country”.
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