Get your copy of Limelight Magazine's April 2018 edition featuring maestro Riccardo Muti, The Death of Stalin's Simon Russell Beale and Howard Shelley on Mendelssohn's A Midsummer Night's Dream.
Contemporary art-scene flick transcends film festival origins.
This fantastic Chilean woman very much lives up to the film's title.
Rom-com looks at paternity from the French perspective.
Gollum actor’s directorial debut is sweetly done if overly honeyed.
Deeply researched documentary restores musical old masters.
Muriel’s headed for the Sydney stage. The creative team explains why turning the film into a musical was a “no-brainer”.Sorry, but you need to LOG IN to read the rest of this content. If you’re an existing magazine subscriber please CONTACT US for your complimentary access with your Subscriber ID or postal address for the subscription. If you’re new to Limelight SUBSCRIBE NOW to create your login and gain access to all of our back issues.
There’s plenty of evidence to indicate engaging in the arts is beneficial to mental health, says Festival Director Jill Bennett.
Relentlessly entertaining and unlike any Australian film we've seen before.
Composer-pianist Yitzhak Yedid and actor Mark Leonard Winter are among 10 artists to receive a $160,000 grant.
All 17 resigned following the response to Charlottesville, prompting the president to skip the upcoming Kennedy Center dinner.
“The Artist and the Pervert” tackles the complexities of Georg Friedrich Haas’ dominant-submissive marriage.
Opens August 3 Genre Comedy/road movie Duration 120 minutes Despite an erratic track record, the director Michael Winterbottom has deservedly earned the respect of most observers of the British film scene. Over two decades he’s established himself as the UK’s most prolific filmmaker, making his films quickly and efficiently on relatively low budgets that make it easier to get the freedom to take creative risks. That said, to mention Winterbottom as a leading European auteur in the same breath as, say, his compatriots Mike Leigh or Ken Loach, is hard, since the themes, stories and genres he tackles follow no obvious patterns while his directorial style changes wildly from project to project according to the needs of the material. No wonder, then, that the results also vary, from the artistic successes like 24 Hour Party People, Wonderland and Genova to failed experiments such as 9 Songs and Tristram Shandy: A Cock and Bull Story, the latter a bold but largely unsuccessful attempt at adapting Laurence Sterne’s unfilmable novel. That film’s chief legacy remains the first screen pairing of its stars, Steve Coogan and Rob Bryden, as a thrusting and parrying comedy double act. Their obvious chemistry went on to find…