Culture

Strains – a word I use expressly – of music weasel through the wall of our segregated domain. Wailing men from decades long gone, dogs howling from a kennel. Here’s one moaning that things’ll never be the same. Lost love, hiding behind his tears.

This year’s Venice Biennale is intensified by the clashes of contemporary geopolitics, but points towards a quieter politics of care and collective attention.

HBO’s Neighbors follows the colourful combatants of local disputes to create a gripping collage of social fractures.

The 79th Cannes Film Festival lacked its usual Hollywood star power, but the vacuum was filled with a wealth of new talent.

Choreographer Florentina Holzinger, the 21st century’s premier artistic iconoclast, is returning to Rising, swapping body horror ballet for a bloody musical.

The Melbourne Theatre Company’s latest production of The Glass Menagerie is alive and faithful to Tennessee Williams’s melodrama of the real.

“Some time after her mother died – when time was a newly pliable thing, twisting from present to past and back again in the moment it took to cross a room – Vicky found a pair of earrings.”

At Buxton Contemporary, Poetry goes no further than language surveys the rise of experimental art in China on its own terms.

Helen Macdonald’s unclassifiable book H is for Hawk – now adapted into a film – examines the violence and sublimity in relationships between human beings and the natural world.

Mother Mary, a new film from The Green Knight writer-director David Lowery, dives into pop music’s imperilled soul.