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Netflix’s latest rom-com offering,
Always Be My Maybe, sidesteps the monotony of the genre and presents a product fit for a 2019 audience. Read More “Why Always Be My Maybe is “the One”!”
The arrival of Captain Marvel heralds a new era for the Marvel Cinematic Universe – one that finally allows me, and millions of other moviegoers, to see ourselves in MCU superheroes.
Read More “Captain Marvel: The Hero We’ve Been Waiting For”
Writer and independent researcher, Sumaya Kassim, looks at how film is being used to explore what diaspora, issues of transnational belonging and British national identity mean to Arab womxn and non-binary film-makers.
Read More “Diaspora Daydreams: Storytelling, Solidarity and Survival in our Films”
After Burberry’s recent fashion “faux pas” with its fall/winter 2019 collection, Helen Long considers how brands need to be more responsible when it comes to the depiction of violence and suicide.
Read More “Brands: Stop Using Suicide to Sell Your Products”
Netflix is turning towards investigative journalism, and two of its new series reveal the depths of corporate crime and corruption. But how should we respond to crimes that are seen as “business as usual”?
Read More “Crime or Capitalism? Netflix’s Rotten and Dirty Money”
Jane the Virgin and Crazy Ex-Girlfriend centre and celebrate women’s experiences heralding a bright, new future for the romantic comedy genre. Read More “Crazy Ex-Girlfriend, Jane the Virgin & the Female Gaze”
Tonight the World, Daria Martin brings her grandmother’s dream diaries to life through exquisite 16mm films, thus shining a light on past trauma. Read More “Daria Martin: Tonight the World at The Curve, Barbican Centre”
Impressively inventive and executed with spy-like precision, Julie Rose Bower’s latest show explodes Foley artistry and ventures into the heartlands of Russian history.
Read More “Julie Rose Bower’s Foley Explosion at the Hackney Showrooms”