A working class white woman finds her voice through hip hop in a provocative new film that’s tipped for awards, writes Oisín Challen Flynn
Photographer Ceres spoke to Alistair Farrow about the influences behind his new book Hiraeth
London lyricist and musician Ghostpoet’s fourth album Dark Days and Canapes takes a more explicitly, and welcome, political direction than his previous work.
Rob Drummond’s new one-man play is supposed to be about the Scottish independence referendum.
Sope Dirisu, who takes the lead role in Royal Shakespeare Company’s Coriolanus this autumn, spoke to Lois Browne about a play debating power and the people
A new and ambitious EP from west London MC Akala looks at the history of black people’s oppression—and their resistance.
The racism that caused the 1967 Detroit riots is honestly documented in Kathryn Bigelow’s new film and makes painful viewing
For the first time ever three floors of the Photographers’ Gallery have been given to a single exhibition—and it does not disappoint.
As special effects catch up with the vision of filmmakers and directors, the plots of science fiction epics need to race to keep up, writes Ken Olende
The seventh season of Game of Thrones is well underway and has been met with much rejoicing from fans.
This year’s Edinburgh Festival has been caught up in political controversy before it has even begun.
Voguing comes to London in August.
A serious but mild-mannered civil servant with a drinking problem gets caught up in a web of intrigue and collusion between the state and private intelligence services.
There is a stereotype of war photographers as hard-living egoists hooked on the adrenaline of the chase.
The film did not live up to the preceding films and seemed unsure of what it was trying to be.
A powerful new exhibition at Tate Modern brings together the work of black artists from across decades of struggle in the US, writes Harold Wilson
The Middlesbrough Museum of Modern Art (Mima) is far from having million pound paintings hanging on sterile walls.
Freesia uses real examples of racist attacks to paint a picture of Islamophobia in Britain today. The film’s director Conor Ibrahiem spoke to Yuri Prasad
Seldom has a film had a more timely release.