In response to the impact of Covid-19 within the arts’ sector, We Are One Global Film Festival have responded to this by uniting 20 film festivals across the world to showcase a variety of works created by a talented network of filmmakers.
In light of recent events, we’ve collectively witnessed a shift in terms of the awareness brought towards particular societal issues, systemic issues of racial injustice and police brutality stark reminders of a broken system in need of reform.
Courtesy of Paul Kolnik.
New Wave Sadler’s Wells Associate Artist Wilkie Branson opens up the conversation on mental health and loneliness in his bold digital production TOM. A culmination of digital and analogue animation, Branson guides us on a man’s groundhog day journey of monotonous commutes, the relentless rat race and battling with depression. From the vast green expanses of the countryside, to the metallic, futuristic surfaces of our transport system – we as the viewer are constantly reminded of our protagonist’s loneliness – the unspoken emotion more commonly felt than realised.
A moment, a journey, an encounter have the potential to drastically shape the course of our lives, and in the case of National Geographic photographer Loren McIntyre, it would be an encounter with the people of the remote Javari Valley in Brazil in 1969 that would change his.
A vibrant insight into a space at the heart of a culture, Barber Shop Chronicles is sharp, provocative and a truly engaging watch. An odd experience to not be in the room in a show that takes care to develop atmosphere, some of Inua Ellams’ intensity and liveness is lost.
Courtesy of Marc Brenner.
Ralph Fiennes (Mark Antony) and Sophie Okonedo (Cleopatra) stand out in a fast-moving adaptation of the iconic tragedy. Slow to start and a little too traditional for my taste, it grows into itself, until tension boils over and the slippery language of politics becomes sharp and intense.
Courtesy of Johan Persson.
Due to the Covid-19 pandemic, the Kammerspiele have been closed and it is uncertain when theatres in Munich will reopen. The current restrictions include the Easter holidays, which will end on 19th April, but there might be an extension. Like other theatres, the Kammerspiele provide streams of their productions via Kammer 4.
Courtesy of Judith Buss.
Family for all of us takes on a very personal meaning, our view of the family construct differing from the next person. Drawing on her views of sisterhood, arguably one of the strongest familial bonds, writer Esohe Uwadiae presents She is a Place Called Home; a considered portrait of a bond tested by the expectations of their mother as well as their proud domineering father.
Despite an outstanding musical performance, Carmen lacks a decisive believability that would have brought this intriguing concept to life, the orchestra however excels.
Courtesy of Richard Hubert Smith.
Escapism in some form or other balances out our predictable routines – whether that be via art, spirituality, vice, technology, a getaway – the need for a break from the everyday crucial for us all to function. Cue Electrick Village‘s brief VR installation piece RawTransport™, a quietly ambitious exploration of escapism and how this in itself further deepens our own sense of self. Made possible by the accessibility of a headset and headphones, how we potentially holiday or ‘escape’ in the future could shift dramatically and not involve the chaos of packing and check ins.
Courtesy of Hannah Pye
