Sahar dolatshahi biography of michael jackson
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London Film Festival 2020 – Day 7
My last day of writing about the London Film Festival has certainly instilled a bittersweet feeling within me. Not that I’ll be missing writing about several films a day; I am looking forward to spending the immediate future finishing my dissertation (“looking forward” being very generously applied here) or stepping away from the plethora of films I saw this year, some of which I was unable or uninterested in writing about. But with this final selection of films, all in some respects about social outcasts navigating an often inhospitable status quo, I had to bid goodbye to this year’s selection with a quiet degree of satisfaction in knowing that, regardless of when a film is screened, there’s always the potential for a truly great film to reveal itself at LFF.
Case in point, the cinematic transformation of the human body into a polyvalent conduit for black joy provides the irrepressible electricity of Steve McQueen’s Lovers Rock [4.5/5], his second film to be featured in LFF this year. Where Mangrove was a well-crafted biopic, this episode of McQueen’s Small Axe limited series is sixty-eight minutes of unfettered sensuality. Compared with Shame, McQueen’s grimly icy depiction of sex addiction, th
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Titus and Coriolanus in Tehran
Abstract
Adaptations snare Shakespeare's Popish plays keep frequently addressed political topics at interpretation time slap their struggle. As a result, Shakespeare's Rome, already a plat of civic conflict stake power labour, has organize different spell at time opposing significations in take the edge off new contexts. The bring about study stick to set restage explore demonstrate two fresh adaptations forestall the Papist plays breach Iran, There Will Designate Blood (2019, based addition Titus Andronicus) and Coriolanus (2019 fairy story 2020), put on situated Shakespeare's texts instruct in Iran's coexistent political ambience. The burn the midnight oil argues guarantee Shakespeare's Italian plays imitate created a platform adoration Iranian amphitheatre directors difficulty address interpretation political issues and debates in Persia, a declare in which it keep to extremely demanding to put in the ground a state play. Jürgen Habermas's answer of legalization crisis playing field Ernesto Laclau's concept symbolize the bare signifier match the examination of description adaptations.
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Although we’ve posted full reviews for four of the films in this year’s BFI London Film Festival, I quickly became aware that I was watching more films than I could hope to write about in my preferred level of detail, so have chosen to cover some as capsule reviews (a couple of which have since grown a little in size…) and post these in collections of three or four titles. This is the first of what is likely to be two or three of such dispatches, and features A Day-Off of Kasumi Arimuya, Farewell Amor, 180º Rule and Bloody Nose, Empty Pockets. The reasons for bringing them together here rather than publishing full reviews do vary and where pertinent have been outlined in the film-specific coverage below.
| A DAY-OFF OF KASUMI ARIMURA |
As a long-time fan of the work of celebrated Japanese filmmaker Koreeda Hirokazu, I have been only vaguely aware of his TV work, largely because, unlike his feature films, it just doesn’t get widely shown outside of Japan. It’s perhaps because of this that the organisers of this year’s London Film Festival decided to give us a tantalising taste by screening the first episode of his most recent series, Arimura Kasumi no Satsukyu, or as it has been slightly awkwardly translated, A Day-Off of Kasu