Drouth Weekly
Latest Review
9th May 2021
Photographer Nicky Bird's engagement with memory, community, place and legacy is put in artistic and intellectual context by Eszter Biró in a review of Bird's new show at Streetlevel Gallery (until 6th June).
The Drouth Review
12th August 2020
There's been no shortage of big screen entertainment based on the Christian story - especially in the years immediately after 9/11 and the Anglo-American adventure in Iraq. What exactly is/was their appeal and what is the measure of their success? Are they just for the faithful and the fervent? David Robertson surveys the field.
5th March 2020
Bi Gan’s Long Day’s Journey Into Night, a massive 2018 box office success in China which confused the hell out of the date-night audience it was marketed towards, has finally limped its way over to a UK distracted by Parasite. Long Day’s mixes art house boredom with trashy noir tropes and 3D, single-take gimmickry, un-bottling a whole jumble of questions about how and why we watch long, ponderous movies when we could be watching something else.
4th September 2019
FOR SAMA is simply a film that everyone must see. You will weep over the bloody betrayal of the Syrian people’s hopes for freedom. It might sound like some cheap […]
16th August 2019
‘NOTHING LIKE BETHNAL GREEN’ The system of economic apartheid in London is often most apparent on public transport. If you take a bus from somewhere in the deep south east […]
21st November 2019
What is a 'Training Camp' organised for and by artists and activists? What would ‘Training for the Future’ mean at an International Arts and Music Festival? The Drouth was at ‘Training for the Future’ at the Ruhr Triennale.
13th December 2019
The Coventry Biennial describes itself as the UK’s ‘social biennial’. More than any other biennale, the Coventry questions how the festival engages with the local community, and what relationship there […]
The Greenock Industrial and the Greenock Pastoral in ‘Just A Boys’ Game’ and ‘The Elephants’ Graveyard’ by David Archibald