Culture

We arrive home to ten or so thornbills
under the verandah working the front step,
picking between holes in the rubber mat.
I am the half-life of their lives added
together at their maximum extent,
and the CT scan dyes my history.

David Wenham’s rendition of An Iliad brings us a weary poet cursed to retell the story of the Trojan War through the violence of the present.

Werner Herzog’s latest documentary, Ghost Elephants, follows his eternal fascination with those driven to ecstatic truths.

Composer Brian Jackson speaks of his powerful and fraught collaboration with Gil Scott-Heron, ahead of a world-first tour celebrating the late musician’s legacy.

We didn’t get to the beach often before being moved to the compound and only twice in the years that followed, until I “escaped”. The fact that I use air quotes so long after they’ve been terminated shows the power of that move and the confusion it brought.

Beyond the headliners of this year’s French Film Festival are some treasures, including Jodie Foster in A Private Life and Lucile Hadžihalilović’s unsettling The Ice Tower.

A velvet ant, a flower and a bird at the Potter Museum of Art asks us to reimagine our worlds, both human and non-human.

Matthew Lutton’s first Adelaide Festival survived an almost fatal scandal to deliver a clear message about the interrogative power of art.

I was 10 years old when I first saw The Lady in the Pink Hat. I was deemed old enough to ride my bike down to the local Hungry Jack’s, a $10 note stuffed deep in the front pocket of my Kmart jeans. Sometimes I would see if my friend Sam from down the road wanted to join, but mostly I would go alone.

A treat for the patient gamer, The Outer Worlds 2 brings a new sincerity to its trademark dark satire.