Plays about the plight of the Labour Party must be in vogue.
As a cult subgenre, Nazi zombie films have their own conventions and cliches to follow. Producer JJ Abram’s Overlord works because it does them so well.
Steve McQueen’s new film couldn’t be more different to his past work. It’s strength is in nuanced, powerful points about US society, says?Julia Ryder
A new film tells how engineers in East Kilbride refused to work on the Chilean regime’s jet engines. Dave Sherry spoke to one of those workers, John Keenan
Death of a Salesman by Arthur Miller has always been a very popular play.
Watching Mike Leigh's film makes you feel like you were actually there on the day the massacre took place in Manchester in 1819.
A new six-part series on the BBC looks at the history of manufacturing in Britain. It glosses over the crucial dynamic—class, argues?Blythe Taylor
Red Ladder Theatre Company, with the support of Leeds Playhouse, are putting on a new production of Bertolt Brecht’s Mother Courage and Her Children
The new biopic of Neil Armstrong is about much more than a tense marriage and celestial exploration
Black 47 is a familiar tale of righteous violent revenge. But its subject matter sees it stand alone from other classics of the genre
Burning Tower makes a case for investment in social housing.
It’s two weeks before the end of the Second World War and the German army is disintegrating.
Gender roles and how they shape society are explored in an innovative new play set in the world of William Shakespeare’s plays, says Pat Clinton
Was a rightward shift was inevitable for the generation that rose up against the Vietnam War?
Director Frank Berry challenges the concept of prison reform in his new drama Michael Inside
Director Agnes Varda and photographer JR travel around France and put up huge photographs of the people they meet
Architect Renzo Piano has made a successful career out of designing buildings that ordinary people are largely excluded from using
The Northern Carnival against the Nazis—a rally and concert held on 15 July 1978 in Moss Side, Manchester—was a defining moment in establishing anti-racism in the city and beyond.
Powerful pieces are on display at British Museum’s latest big show but its eclecticism means their context is lacking, argues Hassan Mahamdallie