culture

In looking back at the 34 works commissioned by Kaldor Public Art Projects over the past 50 years, Making art public captures neither the energy of this medium nor the debate about its value.

In Avalanche: A Love Story, Maxine Peake’s powerful and personal performance charts the pain and yearning – but also the wry humour – found in writer Julia Leigh’s account  of undergoing IVF.

In her subtle, bittersweet second feature, The Farewell, director Lulu Wang reveals the complexities and contradictions of being a second-generation immigrant.

With its pitch-perfect production of David Ireland’s wickedly funny Ulster American, Red Stitch Actors Theatre continues to do some of the most interesting work to be seen on Australian stages.

On their second album, Run Home Slow, The Teskey Brothers have produced a pale imitation of the ’60s soul greats, stripping the music of its political verve and adding nothing in return.

Meyne Wyatt’s powerful first play, City of Gold, joins a growing canon of theatre that asks Australia to confront its treatment of Indigenous people.

Quentin Tarantino’s childhood love of cinema again is at the fore in his nostalgic paean Once Upon a Time in Hollywood. But when will the writer-director invest his talents in something fresh and challenging?

One of three plays by Anchuli Felicia King to feature on Australian stages this year, Golden Shield engages intelligently with the digital world and shows great heart. It’s a triumph.

After almost 50 years, major technical problems and multiple legal challenges, the film recording of Aretha Franklin’s legendary Amazing Grace performances has been released at last – and it’s worth the wait.