Jimmy Ross and Finlay Allison are joined by fiddler Gillian Frame and singer songwriter Penny Stone in a new expanded version of their tribute to the left wing folk legend Pete Seeger.
This is the first retrospective of the influential French filmmaker Chris Marker in Britain. It features five installations of his films, including the philosophical travelogue Sans Soleil (Sunless).
The crowds at the British Museum were in for a surprise last month, as pillaging Vikings took over—adorned with BP logos.
The Japanese animator’s final film The Wind Rises is, as always, strange and beautiful—but it opposes war through rose-tinted glasses, says Ken Olende
Everyday Robots is former Blur and Gorillaz singer Damon Albarn’s first full blown solo studio album. It is a diverse collection of 12 tracks, seldom uplifting but beautifully crafted and at times haunting.
Anyone who grew up with Frank Sidebottom’s regular appearances on Granada TV in the 1980s and 90s will be sorely disappointed if they expect this film to be about him.
Cancer is met with much fighting talk these days. But charity ads that tell us we can make the disease “scared” won’t impress socialist Mike Marqusee.
Illness turned Henri Matisse from painter to pioneer of collage. His cut-outs come alive in a landmark exhibition at Tate Modern, says Peter Robinson
The Silver Tassie is Irish socialist playwright Sean O’Casey’s late-1920s assault on the degrading effect of war. O’Casey was concerned with those at the blunt end of war.
After the death of US boxer Rubin Carter, Ken Olende looks at how he refused to be beaten by a racist state determined to fit him up
We are the Best is undoubtedly one of the best films that I have seen so far this year. It is a hilarious and heartwarming film commanded by three convincing and memorable young protagonists in 1980s Sweden.
