Noticias

Die My Love, Lynne Ramsay’s fifth film, ends with a familiar song sung by an unfamiliar voice: The director herself delivers a stripped-down version of Joy Division’s 1980 hit “Love Will Tear Us Apart.” Marital-breakdown songs are usually the stuff of country and western, but this stark post-punk anthem was written by Manchester’s Ian Curtis, who married at 19 in 1975 and was dead, by suicide, a month before his most famous song was released, 45 years ago, almost to the day (if you’re reading this during Cannes 2025). Ramsay’s mesmerizing film is as close as you might get to seeing Curtis’ song come to life, the brutal but beautiful story of a married woman’s mental disintegration as post-natal depression consumes and obliterates her.

The famous saying has it that hell is other people, but here, hell for other people is Grace (Jennifer Lawrence), a big-city author who has...

Prepare for the chilling return of the Romford Horror Festival, an extended four-day plunge into the heart of cinematic horror, starting on Thursday, 29th February 2024. Now in its fourth year, this festival, a twisted offshoot of the Romford Film Festival, is gearing up to unleash an unparalleled experience, unveiling its most diabolical lineup to date.

Plunge headfirst into a blood-curdling cinematic odyssey, featuring 168 feature films and shorts, including eight timeless classic horror masterpieces. The festival, spreading its dark influence across two screens and introducing a third exclusively for spine-tingling talks, continues its legacy of premiering global cinematic nightmares, boasting an astounding 33 world premieres that are sure to send shivers down your spine. The resurrection of fan-favorite segments like “Short, Sharp Shocks” and “Cheap Thrills” is now joined by two electrifying additions: “Student Bodies,” showcasing student films, including seven from New City College, and the unpredictable “Horror Roulette,” a pulsating party...

The Romford Horror Festival, an extended four-day plunge into the heart of cinematic horror, returns for its Fourth(!) year on Thursday, 29th February, with a lineup that promises a star-studded affair, featuring Tony Todd, Prunella Scales, Sean Young, Jamie Lomas, Kane Hodder, Kierston Wareing, Lynn Lowry, Caroline Munro, Graham Cole, Diane Franklin, Caroline Pickles, Pauline Peart, Guy Henry, Dani Thompson, Ayvianna Snow, and a myriad of other captivating talents, all ready to plunge audiences into a world of terror.

Plunge headfirst into a blood-curdling cinematic odyssey, featuring 168 feature films and shorts, including eight timeless classic horror masterpieces. The festival, spreading its dark influence across two screens and introducing a third exclusively for spine-tingling talks, continues its legacy of premiering global cinematic nightmares, boasting an astounding 33 world premieres that are sure to send shivers down your spine. The resurrection of fan-favorite segments like “Short, Sharp Shocks” and “Cheap Thrills” is now...

A devastating couplet is every pop star’s secret weapon. Whether it’s Morrissey grumbling about having to go to bed with nothing but a Sylvia Plath anthology for warmth or Kate Bush crooning sweet nothings-that-are-actually-dark-somethings lyrics illuminate and elevate a song. Words bring clarity and drama, opening a secret passage to an artist’s internal life.

Or that is at least the case when they transcend mere bubble-gum and strain for grandeur. The power of a musician’s words has been acknowledged of late in surprising places. Bob Dylan, who once wrote “Wiggle, wiggle, wiggle like a gypsy queen/Wiggle, wiggle, wiggle all dressed in green”, was awarded the Nobel Prize for Literature in 2016, while rapper Kendrick Lamar won a 2018 Pulitzer prize for his supremely literate Damn album.

Here, then, is a thoroughly unscientific but completely from the heart list of the greatest lyrics ever. They run from the clever to the overblown,...

Hot 8 Brass Band add a funky swagger to Joy Division’s “Love Will Tear Us Apart” in the New Orleans group’s new version of the 1980 post-punk song. The octet adapt the original’s melancholy vocal melody and churning bass line into punctuated horn blasts and rumbling tuba.

The band paired the song with a New Orleans-set video that reflects on heartbreak and romance. The clip shows the musicians and various strangers in motel rooms and apartments – scenes filled with dancing, arguments, sex and the ironing of sheet music. The...