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There are more than 200 results, only the first 200 are displayed here.
For gay teens and those who known them, the film is vitally affirming. But there's baggage that comes with its treatment of these themes that undercuts its efforts to engage the experience of alternative sexual orientation. Simon may be gay, but he is also explicitly a privileged white man.
We know how this is going to turn out historically: the 1971 referendum is successful. There is a certain quaintness to the film that makes it feel off the pace of the current conversation around women's rights. But there is an engaging frankness to its attention to the sexual liberative dimension of women's self-agency.
Kane insists God doesn't make mistakes: 'That's what makes him God.' Lena retorts with reference to the Hayflick limit — the naturally occurring limit on the number of times cells can divide. Never mind cancer; the very fact of ageing, she says, comes down to a flaw in our DNA. It's a telling scene, pointing to a scientifically enlightened humanity at odds with its own physiology.
Last year Brooklyn Museum exhibited radical 20th century works by American women of colour alongside The Dinner Party, a 1970s Second Wave feminist piece noted for its white, middle-class preoccupations. The resonance of this pairing illuminates the plight of Christian, hero of the Swedish art-world farce The Square.
That Hollywood has a gender equality problem is not in doubt. The conversations around what constitutes assault and harassment, and about how Hollywood culture reflects and reinforces equality in society at large, is vital, and sophisticated. The standard of what we should expect is being constantly raised. It should be.
If you're looking for concrete facts, look somewhere else. What Robbie gives us instead a portrait of a sympathetic antihero, whose rough and 'redneck' manner stands in contrast to her profound abilities, and at odds with the gentility of her chosen sport. Meanwhile her farcical mantra 'It wasn't my fault' whenever things go wrong is given weight by a portrayal of serial abuse.
The practice of appointing business people to oversee arts bodies is as questionable as referring to the arts as an 'industry'. Business and the arts work on almost diametrically opposed rationales. Understanding this might go a long way towards assessing the art world more intelligently.
Aboriginal filmmaker Warwick Thornton exercises his visual mastery to its fullest in order to elevate a straightforward story of outback brutality and racial prejudice to the proportions of myth.
As America endures one of the most authoritarian and chaotic presidencies in its history, Richard Nixon has, for obvious reasons, been a recurring touchstone for many commentators. Given the clear comparisons, it's no surprise Steven Spielberg pulled out all the stops to bring The Post to the public ASAP.
When misused power remains unchallenged, it is the most vulnerable who suffer most. The truism finds acerbic embodiment in the Slovak-Czech black comedy The Teacher, whose setting in 1983 communist-ruled Czechoslovakia provides a historical backdrop that doubles as an analogy for any socio-political context where power can be a means to personal ends.
Lately Lucky has death on his mind, and these and other various acquaintances serve as stars by which he navigates his close-held fears of impending oblivion.
Detroit weaves archival footage with recreations of the racially charged 12th Street Riot of 1967, a moment poised against the civil rights movement and the disenfranchisement of urban blacks, before homing in on the incident at the Algiers motel - a cross-section within a cross-section of that moment in history, where three black citizens were beaten and killed by police.
25-36 out of 200 results.