culture

A refreshing and often groundbreaking portrayal of female adolescence, Olivia Wilde’s Booksmart deserves to be a classic, despite its slow start at the box office.

As mining interests continue to dominate Australia’s landscape, two exhibitions at UNSW Galleries consider humanity’s exploitation of the planet’s resources.

At Heide Museum of Modern Art, Temptation to Co-Exist looks back on the decades-long collaboration between Janet Burchill and Jennifer McCamley, which has produced a richly layered body of work.

Although Melbourne Theatre Company’s Storm Boy is lushly produced, Colin Thiele’s story is showing its age – particularly in the face of a global climate emergency.

Despite some underwhelming curatorial choices, the National Gallery of Australia’s Monet: Impression Sunrise has its moments of transcendence.

By focusing on the human stories of the world’s worst nuclear disaster, HBO’s Chernobyl offers a portrait of ordinary heroism – and a vision of how we might deal with climate catastrophes to come.

Beyond the thrills, the glamour and the sexual tension, Killing Eve’s second season asks viewers to confront their own ambiguous morals – and therein lies the series’ greatest strength.

At the National Gallery of Victoria, the ancient terracotta warriors of Xi’an are exhibited with the work of contemporary artist Cai Guo-Qiang, provoking a conversation about history, legacy and immortality.

Love and Shit, an exhilarating double bill by Patricia Cornelius at fortyfivedownstairs, expose the uncomfortable realities of Australia’s underclass. In doing so, these plays remind us how vital theatre can be.