Post-Pandemic Theatre: “The general support is intoxicating”
We all had our roles to play in the pandemic. Regrettably, I was cast as a Pollock Fresher, navigating a character arc marked by fines and unruly behaviour within those…
The universal experience of awkward silence in tutorials
Three years out of the pandemic and yet the effects are still tangible. It goes without saying that the forced isolation and distancing forced everyone on to their phones and…
Covid-19: Will we ever see the end?
Last week, one of my work colleagues tested positive for Covid-19. With all honesty, until I heard this news, I hadn’t thought of Covid in almost months. If two years…
Music and the Cost of Living
Still recovering from the last two years of COVID, the live music industry is now facing another threat to its way of life—the cost of living crisis. Even though the…
Review: Remote
Remote directed by Mahyad Tousi and Mika Rottenberg is an unsettling depiction of the longing for human contact during quarantine. We follow several days of a woman depicted by Okwui…
Review: This England
This England, created by Michael Winterbottom, chronicles the mishandlings of the Covid pandemic by Boris Johnson’s Conservative Government. It concentrates heavily on the first lockdown, the failure to deliver adequate…
EIBF 2022: Ottessa Moshfegh, ‘Power, Cruelty and Savage Faith’
You never want to hear an artist discuss the intricacies of their process too much: an overabundance of detail will detract from the intrigue of the piece and remove some…
EIFF 2022: The Narrow Road Review
As the world leaves the Coronavirus pandemic behind, it is almost inevitable that it will become the subject of many films. The Narrow Road, a film set in Hong Kong…