On the fashionable/unfashionable style of Stanley Donen’s 1957 musical. Plus, a digression on Rouben Mamoulian’s neglected Silk Stockings.
The Turner Prize-winning conceptual artist discusses his practice ahead of a major survey of his work—one of the highlights of the New Zealand Festival.
Does the razzle-dazzle beauty of Martin Scorsese’s new film seduce in a way that obscures the horrors within?
Vincent Ward, New Zealand auteur, reflects on a singular career in film, his creative instinct as an artist, and the exciting prospect of returning to directing after a long absence.
Exquisite thoughts on writing and reading from the Man Booker Prize-winning author of The Luminaries.
The exquisite and harrowing images behind New Zealander Robin Hammond’s W. Eugene Smith Memorial Fund winning photojournalism.
Catching up with ex-pat Kiwi humourist John Clarke, who Barry ‘Dame Edna’ Humphries describes as “Australia’s greatest comedian.”
One of rock‘n’roll’s great journalists on Leonard Cohen, Johnny Cash, Lou Reed, and Bob Johnston.
The brave author of The Man Without a Face: The Unlikely Rise of Vladimir Putin tells ALEXANDER BISLEY why she decided on Sunday to leave Russia.
Revisiting Terrence Malick’s American odyssey.
Art New Zealand opens its mouth and finds itself suddenly mute. THOMASIN SLEIGH thinks about art criticism in New Zealand.
Notes on Christian Marclay’s staggering 24-hour video installation.
Francine Pascal’s Sweet Valley Confidential reunites readers with Jessica and Elizabeth Wakefield, covergirls of the ubiquitous Sweet Valley High romance novels. Now ten years older, are the twins and their stories any wiser?
A current visiting fellow at the University of Auckland, Korean filmmaker Park Kiyong sat down with ZHOU TING-FUNG (an editor on Moving) to discuss the conception and making of his documentary response to the Christchurch earthquakes.
Baiting and repelling audiences in equal measure, Lars von Trier’s Antichrist is the most misunderstood film of the year.