Page 115 - Liverpool Philharmonic 22-23 Season Coverage Book
P. 115

new work to another string quartet, this time by British-born but New York-based
        composer Anna Clyne. With her thoughtful gift for bringing out the best in dancers and
        her choreographic originality, it’s sure to be both beautiful and revealing (Linbury
        theatre, Royal Opera House, 4-16 February). Sarah Crompton

        Film

        Justice-themed movies


























        Personal politics: Kayije Kagame in Saint Omer. Photograph: TCD/Alamy
        At times of uncertainty – and are we not permanently in uncertain times? – there is
        reassurance to be found in stories in which justice is seen to be done. The core idea of
        wrongs addressed and crimes called to account links several of the new year’s strongest
        film releases. Of these, Todd Field’s sublime morality tale Tár (13 January) is the
        highest profile. Cate Blanchett deploys the full extent of her huge charisma as Lydia
        Tár, a celebrated, world-class conductor who is gradually undone by her own predatory
        narcissism.
        Both Sarah Polley’s Women Talking (10 February) and Alice Diop’s Saint Omer (3
        February) are, in a way, courtroom dramas, although only the latter actually takes place
        in a court. Polley’s film unfolds, instead, in a hay loft, where a group of women debate
        the path forward following the revelations of widespread sexual abuse within their
        isolated Mennonite community. It’s utterly compelling, as is Diop’s very moving
        account of a woman observing the trial of a mother accused of murdering her baby.
        Real-life stories of justice have a particular potency: Laura Poitras’s galvanising
        documentary All the Beauty and the Bloodshed (27 January) weaves a portrait of the
        photographer Nan Goldin with an account of her David v Goliath campaign against the
        Sackler family’s art world reputation laundering. But justice is only as effective as the
        society it serves, as Ali Abbasi’s fact-based Iranian serial killer picture Holy Spider (20
        January) makes clear. A man is tried for the murders of a string of sex workers in the
        city of Mashhad. But in the eyes of the religious ultra-conservatives, he is viewed as a
        hero, guilty of nothing more than “cleansing the streets of sin”. WI


        Music
        Pulp and Blur reunions
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