MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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The White House of horrors
DAVID YEARSLEY muses on the State Department’s use of film to project US power
AVIATOR COMPLEX: Joe Biden and Disney+ actress Olivia Rodrigo in the Oval Office
[The White House/CC]
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
What’s the difference between a US movie producer and a US secretary of state? The one dreams of winning an Oscar, the other makes sure the awards go to the right global players.
US foreign policy has long been committed to flooding the world with Hollywood films. Inseparable from this open market ideology is the recognition of the moving image’s literal projection of US power and the universal rightness of the US Way.
Winston Churchill paid homage to these forces when he described Mrs Miniver, that silly Little Olde England wartime MGM melodrama of 1942, as “propaganda worth a hundred battleships.”
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