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Anwen Crawford

Anwen Crawford

Anwen Crawford is the author of No Document (Giramondo, 2021), shortlisted for the 2022 Stella Prize, and Live Through This (Bloomsbury, 2015). Her work has appeared in publications including The Monthly, The New Yorker, The White Review and Sydney Review of Books, and in 2021 she won the Pascall Prize for Arts Criticism. She is a long-time zine maker and collaborative visual artist. She lives in Sydney.

Loro

ABR Arts 11 January 2019
Though it begins with an elaborate disclaimer regarding its status as a work of fiction, Paolo Sorrentino’s Loro (aka Them) is manifestly a portrait of Silvio Berlusconi, former prime minister of Italy, media tycoon, populist, authoritarian, and playboy. Befitting its subject, the film is showy and often crude, filled with extended party scenes evoking the debauchery that surrounded Berlusconi. ... (read more)

Lean on Pete

ABR Arts 26 November 2018
Charley (Charlie Plummer), the vulnerable teenage protagonist of Lean On Pete, is always on the move. We first see him jogging at dawn, past suburban streets and out towards to the local racecourse. The morning light is benevolent; the camera keeps a smooth distance: all is promise and potential in Charley’s life, or should be. But his home is threadbare and his relations are meagre. In lieu of ... (read more)

You Were Never Really Here

ABR Arts 03 September 2018
I began to lose count of the murders in You Were Never Really Here around the halfway mark. The film is only ninety minutes long, so quite a lot of carnage is crammed into it. Sometimes, the violence takes place just past the edge of the frame. Several gruesomely bloody scenes are interspersed with many bloodless yet no less visceral ones. The film’s opening shot shows a man with a plastic bag t ... (read more)

BlacKkKlansman (Universal Pictures)

ABR Arts 13 August 2018
BlacKkKlansman begins with Vivien Leigh as Scarlett O’Hara in Gone with the Wind (1939), picking her way through a mire of injured Confederate soldiers. Then it cuts to Alec Baldwin as a fictional mid-twentieth-century eugenicist spewing racist pejoratives and bilge about ‘the International Jewish Conspiracy’. Footage from D.W. Griffith’s profoundly racist and egregiously influential film ... (read more)

Disobedience

ABR Arts 12 June 2018
The sky is a wintry grey when Ronit (Rachel Weisz), a photographer, arrives in London, recalled to her hometown from New York by the death of her father, a local rabbi. The Orthodox Jewish community to which she returns dresses sombrely, in shades of black, and comports itself strictly. Dovid (Alessandro Nivola), a childhood friend and her father’s protégé, steps away from Ronit when, impulsiv ... (read more)

BPM (Beats per Minute)

ABR Arts 14 May 2018
BPM, or 120 battements par minute, to give its more expansive French title, is not the first film to be made about the charismatic activist group AIDS Coalition to Unleash Power, better known as ACT UP, but it is the most lyrical piece of cinema so far to have emerged from ACT UP’s history. ACT UP, founded in New York, in 1987, has long been recognised for its direct actions – occupying the Ne ... (read more)

Loveless

ABR Arts 23 April 2018
Andrey Zvyagintsev’s Loveless is a cold, despairing film, befitting its title. It opens and closes in the depths of winter, with wide, lingering shots of an ice-bound river; in between, it delivers a portrait of a marriage that has hardened into estrangement, with a child lost to the void that exists between his parents. No character is improved by their trials, much less redeemed. No thaw ever ... (read more)

The Death of Stalin

ABR Arts 26 March 2018
Madnesses pile up in The Death of Stalin, too fast and too numerous to itemise. Victims of tyranny are snatched away in the dead of night, locked in basements, or pushed down staircases at Chaplinesque speed. The terms of engagement change halfway through a conversation: forbidden thoughts are now doctrine; the condemned rise again. ‘I’ve had nightmares that make more sense than this,’ lamen ... (read more)

Anwen Crawford reviews 'Sticky Fingers: The life and times of Jann Wenner and Rolling Stone magazine' by Joe Hagan

April 2018, no. 400 14 March 2018
Sometime in 1970, an unidentified person – perhaps a disgruntled journalist or aggrieved interviewee – scrawled the words ‘Smash “Hip” Capitalism’ onto an office wall at Rolling Stone magazine. It was an incisive piece of graffiti. Rolling Stone had begun publishing in 1967, in San Francisco, at the epicentre of the counterculture, but it had already proved less than radical. As the re ... (read more)

Lady Bird

ABR Arts 06 February 2018
Too often the suburbia on show in American movies feels like a suburbia that only exists in the movies; a fantasy land stocked with preposterously large, catalogue-neat houses populated by families that boast perfect complexions and expensive teeth. Not so in Lady Bird, set in Sacramento, California, where the glitz of Los Angeles and the fashionability of San Francisco feel very far away. Christi ... (read more)
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