DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Toronto International Film Festival 2019
The world's biggest film festival was noticeable this year for works addressing acute social and political issues
Masterful: Martin Eden
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
THE TORONTO International Film Festival is mega — over 300 films were screened this year — and among them were debut features and documentaries that caught the eye, among them Workforce from 29-year-old Mexican director David Zonana.
Highlighting the catastrophic consequences of class inequality and the violation of workers’ rights, it tells the story of young construction worker Francesco, who seeks justice when his brother dies in front of him on a luxury-home building site.
His widowed sister-in-law is told she will get no compensation from the accident and the tragedy is the starting point for a fierce and meticulous examination of cycles of economic abuse in what's a heartbreaking and hard-hitting human story.
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ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
KEVIN DONNELLY and MARIA DUARTE review Shoot the People, The Last One For The Road, Rosebush Pruning, and Moana
RITA DI SANTO talks to Scottish-Irish filmmaker MARK COUSINS about his new panorama of world cinema The Story of Documentary Film
RITA DI SANTO takes us through the prize winners, and takes the temperature of a festival that prioritised narratives of exile, state violence and class division