Released on 19th November the silver screen sees the revival of one of the most beloved franchises of the ’80s with Jason Reiman’s new sequel “Ghostbusters: Afterlife”. This modern take on the Ghostbusters movies is a coming-of-age story of a group of kids who learn how to become the new generation of ghost catchers.

When it comes to the Marvel Cinematic Universe, the franchise has become a classic example of pop culture, with record-breaking box office performances and loving fans of all ages all around the world. After the success of the Russo brothers’ “Avengers: Endgame” and Jon Watt’s “Spiderman: Homecoming”, the franchise has taken a break during Covid, and has recently made a comeback with a list of new movie announcements labeled the “Phase four of Marvel”. One of the most anticipated movies was Chloé Zhao’s “The Eternals”, which has officially been released this Autumn. This movie is quite different from the rest of the franchise, as it adds a dimension of personal drama and existential questioning on top of the typical action and wittiness of Marvel movies.

The story introduces us to the Eternals, a team of 10 superhuman beings created by the makers of the Universe, the Celestials. The Eternals are tasked with the mission of protecting humanity over the centuries from the Deviants, a race of monsters that keep terrorising Earth. Once the Deviants are all finally exterminated in 1521, the Eternals are left on Earth without further instructions, except to not intervene in human affairs. However, when the Deviants sudden reappearance in modern times forces the team to reunite, the Eternal Sersi (Gemma Chan) starts unveiling the truth of their existence and discovers that nothing is as it seems.

Despite having a great number of characters, the film manages to focus on each of the ten heroes and gives them significant depth. Although Sersi might be considered the main character, the other members of the team are all given strong dynamics and struggles. Their personal adventures each lead to different reflections on varied existential topics: Thena (Angelina Jolie) on the importance of memory, Ikaris (Richard Madden) on the struggle to decide what is right, Sprite (Lia McHugh) on the downsides of immortality, Druig (Barry Keoghan) on the value of free will… The movie balances these personal dramas with the bigger-scale epic adventure of the Eternals trying to save the world. However, some character development becomes confused in the third act, as some members of the team such as Kingo (Kumail Nanjiani) and Sprite make some unexpected choices that make little sense plot-wise.

Another important element of the movie is the diversity and inclusivity aspect, which has been heavily marketed by Marvel. The Eternals are far from being the same cookie-cutter white and handsome male superheroes so often seen in movies of this genre, as they have members that are queer, female, disabled, overweight and of varied race and age. Instead of being a mere token for political correctness, this diversity is justified within the narrative and enriches the characters rather than transforming them into two-dimensional stereotypes. This is a great step in superhero movie inclusivity from MCU’s first woman of colour director.

Despite the overall serious and existential tone of the movie, the long-running time flies by thanks to lighter passages of action sequences and banter between the characters. Zhao has a tendency as a filmmaker to shoot on beautiful and vast landscapes, a habit that she doesn’t break in this movie, as most of the scenes are shot on location. The CGI is used relatively little until the final act, giving a much-needed grounded aspect to the story.

Overall, the movie can be considered a philosophical and psychological drama disguised as an epic superhero movie that will delight audiences of all ages. Get your tickets at Barbican cinema at https://www.barbican.org.uk/whats-on/series/new-releases.

Reviewed by Céline Galletti- Celine is a volunteer writer for Abundant Art. Originally from France and Italy, she follows her passion for writing and art by studying Comparative Literature at UCL, London. As an international student living in London, she is determined to fully experience and understand the city’s vibrant arts scene, and be a part of its creative storm.

In the backdrop of a small village in Sudan, a boy is born and from the moment of his birth his destiny is already carved into the world – it is prophesied by the village sheikh that he will die at twenty. Whilst Muzamil’s peers indulge in the freedom of their adolescence and the blissful obliviousness surrounding the uncertainties of life, the certainty of his death is what plagues and probes every inch of Muzamil’s life. As a result, he feels ostracised from normal life and is not prepared for adulthood as this is regarded as pointless. He is teased by his peers who nickname him “son of death”, and the paralysing fear of his death causes him to attempt to live a sinless and pure life moulding him into a dull, lifeless individual with very little identity outside what others prophesise for him. ‘You Will Die at Twenty’ is the debut film of Director Amjad Abdu Alaa and is a morbid, bleak coming-of-age film that is centred around topics surrounding religion, family, culture and the adversity that comes with living your life when it is shrouded in death.

“Has sadness become a habit?” asks a village elder to Muzamil’s mother, Sakina, who has an ever-present look of despair and lifelessness etched onto her face. Throughout the film, she only wears black, as if to mourn her son’s impending death. Her life is dedicated to the protection of Muzamil attempting to shield him from the world, encouraging him into a complete dedication to religion and discouraging him away from normal life. His father has left and is yet to return, escaping from living the sorrowful life that Muzamil’s fate has bestowed upon their family. It is quite painful to watch his interactions with his mother, they are emotionless, almost as if she is practicing detachment in order to prepare for when the fateful day comes.

Some of the best scenes of the film come on screen when Muzamil interacts with two characters who do not define him entirely by the Sheikh’s prophecy. One of these characters is Naiema, a girl which Muzamil has grown up around in the village. Mutual feelings are shared between the pair and whilst these feelings are unspoken, the scenes between them emanate a youthful and free energy. As they sit against the visually beautiful backdrop of the Nile, a kiss is briefly shared between them before Muzamil cuts it short, too fearful for things to go any further between them. Ultimately, Muzamil’s fear and apprehension to live his life normally prevents their relationship from blossoming, which was heart-breaking and also quite frustrating to see. The other is Sulaiman, a rebellious older man who is cynical and critical of the village as well as the emptiness of Muzamil’s life due to living in fear of his death.  Sulaiman acts as a father figure to Muzamil providing him with tough love, encouraging him to question his life and take control of his destiny. He also introduces him to the beauty of cinema and art and presents him with an insight to an otherworldly life that exists outside the village with stories from a lifetime of travelling across the world. As the two watch a scene from the film ‘Cairo Station’, Muzamil is transfixed with what he sees – for him cinema presents an obscure, distant world that he will never get to experience and it is his only insight into being able to comprehend a life outside the confinements of the village. Muzamil’s interactions with Sulaiman cause him to question himself and the world around him.

You Will Die at Twenty’ poses the question of whether our futures and fates are really set in stone for us or whether we are the autonomous controllers of our destiny. After his 20th birthday arrives and Muzamil is not dead he decides to escape from the village.  In the final scene of the film, he chases after a carriage that is exiting the village.  He has not died, but the lifeless, soulless individual he once was has. We are left on a cliffhanger. What is next for Muzamil? Actor Mustafa Shehata does a wonderful job playing a despondent young boy, who finally begins to question his life after 19 years of nothingness. It is great to see a Sudanese film gaining worldwide attention and hopefully we can see more of this in the future. 

Book tickets to watch the film at the ICA here:  https://www.ica.art/films/you-will-die-at-20

Reviewed by Lian Lakhope. Lian is a MA Global Media and Communications student at SOAS and a volunteer writer for Abundant Art. Lian has written for a number of different publications, mostly about music, culture and film and she is enthusiastic about expressing her passion for creating art and media.

This dazzling exhibition at the V&A showcases the breathtakingly elegant work of the legendary Russian jeweler, Peter Carl Fabergé. Most famously known as the Romanovs’ personal goldsmith, this exhibition uses over 200 objects to delve deep into the work of Fabergé within and beyond Russia, admiring his excellent craftmanship. Fabergé in London celebrates the fact that London was the location of his only overseas branch and takes us on a journey through Carl Fabergé’s career. The exhibition is carefully planned out: as we move through the rooms, we uncover another layer of Fabergé’s work, before reaching the grand finale, which is the Imperial Easter Eggs.

The Romanovs were well-known for their extravagance; gift-giving played a significant role in their relationships. Fabergé’s intimate gifts perfectly represent an Empire marked by sex, jewels, and death. The first section of the exhibition explores the significance of Fabergé’s crafts in the Romanov family. From tiaras to trinket boxes, we begin to sense a flash of brilliance created by Fabergé’s work. We embark upon the intricate methods, such as enameling, and the precious materials used in Fabergé’s work.

The exhibition then moves on to Fabergé’s work outside of Russia. The London branch acted as a luxury retail destination for wealthy domestic and international clientele. Exchanging gifts was an important ritual in Edwardian society; Fabergé’s creations were desired by the elite as they were appreciated for their bespoke designs, rather than their value. Each item in this exhibition carries its own story, creating a real sense of intimacy and fascination.

The final room of the exhibition contains 15 Imperial Easter Eggs, many of which have never been seen in Britain – this is the largest collection of eggs to be exhibited in a generation. Each one so intricately designed and beautifully crafted, it is impossible to not be utterly stunned by the work of Fabergé. The Moscow Kremlin Egg is most definitely one which stood out to the eye.

Fabergé in London is a shining example of Russian craftsmanship and history. This exhibition is one that does not fail to amaze the eye, whilst telling a story of romance and revolution. I would highly recommend everyone to view this exhibition whilst they have the chance!

Get your tickets at: https://www.vam.ac.uk/exhibitions/faberge

Reviewed by Ridha Sheikh – Ridha is a volunteer writer for Abundant Art. She is a recent History and Politics graduate from Queen Mary – University of London. Ridha is excited to explore and share her strong passion for London’s art scene.

A powerful, vibrant performance from Arinzé Kene, starring as Bob Marley, loudly celebrating the singer’s brilliance. Get Up, Stand Up! The Bob Marley Musical currently showing at London’s Lyric Theatre is a new, exuberant production which should not be missed!

As we watch Marley’s life unfold, from a small boy in Trench Town, Jamaica, to an international superstar, we witness the power that music held during both his struggles and successes. Jammin’ to classics like ‘Three Little Birds’, ‘Is this Love’, and ‘Stir It Up’, you truly start to feel Marley’s spirit and the joy that his music continues to bring.

What I enjoyed most about the production is that, whilst creating a wonderfully positive atmosphere, it also explored reggae music in a much deeper sense. We see that his music is rooted within politics and Rastafarianism as it is described as ‘spiritual, rebel music’. Throughout the musical, there are references to Haile Selassie, Marcus Garvey and colonialism – shedding light upon the struggles and philosophies within Marley’s music.

The production is one filled with emotion. Each song is performed with a real passion that does not fail to captivate the audience, not to mention the exceptional vocals throughout. There is a perfect balance between the music and story-telling, the most notable storyline being of his love affairs. The connection between Arinzé Kene and Gabrielle Brooks (playing Rita Marley) created scenes which were undeniably captivating and moved the audience.

The sets were kept simple, allowing us to focus on the costumes, choreography and music – all of which were sensational. It also emphasised the simplicity which remained constant in Marley’s life despite his fame. There were amazing theatrics, an engaging storyline and infectious music – it was brilliant.

Not only is this an exceptional performance, but it is also an important cultural event which I would urge everyone to go and see! It is an iconic tribute to Bob Marley, celebrating 36 passionate years of his life and lasting legacy.

Get your tickets now at: https://getupstandupthemusical.com/

Reviewed by Ridha Sheikh – Ridha is a volunteer writer for Abundant Art. She is a recent History and Politics graduate from Queen Mary – University of London. Ridha is excited to explore and share her strong passion for London’s art scene.

Director  Pablo Larrain’s ‘Spencer’ is not merely a biographical tale on the life of the people’s princess, it is a surrealist psychological thriller. We experience the life of a woman who can no longer bear the suffocation of having eager, piercing eyes scrutinize your every move. Larrain has clearly tried to establish an authentic royal family biopic rather than focusing on the drama surrounding the monarchy. He has successfully managed to create a film that focuses on the torment and troubles that being held to such high expectations had on an individual in this position.

Diana has been known as someone who did not act like a typical royal and she is portrayed like this in the film – she doesn’t wait for royal guards,  drives herself around, swears, purposely goes against the dress code and just wants to “eat fast food and watch Les Mis.” She is real. The film takes place in Sandringham in 1991 during the Christmas period. With the combination of Diana’s marriage crumbling and the Christmas period being marked by intense protocol and tradition, Diana finds herself frustrated at the heightened scrutiny of a world that seems to be against her, causing her eating disorder to worsen and we see her become on the edge of a mental breakdown.

Atmosphere and expression are integral parts of creating the image of augmenting isolation and agony felt by Diana and rather than a heavy script, we are presented with an abundance of anxious glances, wandering eyes and fearful looks. One scene where the family sits at the dinner table is particularly full of these apprehensive glances, paired with the powerful silence that fills the room. The sense of claustrophobia and distress felt by Diana is shifted onto the viewer and it is impossible not to feel uncomfortably tense and anxious for her. Following this, Diana slips into a hallucination, as she frantically fiddles with the pearls around her neck – the pearls which Charles has also given to his mistress – she sees the ghost of Anne Boleyn sitting across from her. The film parallels the lives of Princess Diana and Anne Boleyn, both monarchs tormented by their position in failing marriages, as well as the fear Diana has for the fate of her future reaching a similar melodramatic end to that of Anne Boleyn.

“There’s no hope for me, not with them” says Diana solemnly as she looks at herself in the mirror. For Diana, it was not a matter of, eventually growing accustomed to the royal lifestyle, she is too detached and too hyper-aware of how much she has to transform herself into the impossible image of the perfect princess to ever become one of them. She does not want to try and fit in, instead she yearns for a return to the past where things were different. When the present and future seem so full of sorrow, it is difficult to not be consumed by the blissful nostalgias of the past. In a scene where Diana escapes to her childhood home that has been boarded up and abandoned, a montage ensues of her dancing – this is one of the few times in the film where freedom and individuality are exuded rather than claustrophobia and conformity.

Kristen Stewart does a great job at presenting a sensitive, on edge Diana. She is especially good at playing her expressions and body language. Pablo Larrain has created a beautiful yet miserable tale of a weekend in the life of a tortured and repressed princess.

Spencer is available to watch in cinemas from November 5^th. Book tickets to watch it at the ICA here: https://www.ica.art/films/spencer

Reviewed by Lian Lakhope. Lian is a MA Global Media and Communications student at SOAS and a volunteer writer for Abundant Art. Lian has written for a number of different publications, mostly about music, culture and film and she is enthusiastic about expressing her passion for creating art and media.

Tate Britain is currently hosting the exhibition “Hogarth and Europe”, which skillfully displays the works of the famous British painter, whilst offering an insight into the vibrant historical context of Europe in the XVIII century. The paintings act as a window into society at that time, in which flaws are drastically exaggerated through caricature and mockery. The artist takes the role of a witty and cynical observer. Often represented in the background of his paintings, he judges what he sees without ever being moralistic, offering a cheeky perspective on the ridicules made on society.

The exhibition immerses the audience in its historical context by showcasing the works of many other emblematic artists of the time, in addition to briefly focusing on four main cities that fostered culture and art at the time: Paris, Venice, Amsterdam, and of course London. Europe was experiencing a period of economic growth and deep social change, which contributed to the creation of new creative freedoms in art. Drunkenness, sex and all sorts of immoralities were depicted without filters and were used to mock the nobility, mirroring an age where the social hierarchies were crumbling. However, the main focus of mockery, especially in Hogarth’s painting, was the ever-growing bourgeoise, that he considered materialistic, greedy and hypocritical.

Contrary to what one might think, Hogarth’s depictions of London life weren’t considered controversial and were instead widely popular. The grotesque scenes he represented were warmly welcomed by audiences who considered them as a source of amusement. Hogarth was especially appreciated for his insightful and satirical worldview that avoided controversy by never calling for change or revolution. On the contrary, the artist was a strong supporter of the government and even became a painter for the King.

This form of art, stripped of everything that had made it sacred and untouchable up until that point, was given a brand new function: make the audiences laugh and also see the depravities of their society. This process of desacralisation of art, although making art more accessible and emancipated from the strict rules of Baroque and Classicism of the previous century, loses a little of its symbolical aspect. The paintings are sometimes closer to caricatures that you would find in a journal rather than what you would initially expect from art. The expansion of Romanticism in the following century comes almost as an answer to this satirical social art, as it represented a more internal and psychological search in an otherwise materialistic world.

On a compositional level, the paintings are extremely rich in information, characters and actions. Every painting will take you through moments of thorough observation, as each character has its own narrative dominated by chaos and dynamism. This sort of storytelling holds a sort of theatrical aspect typical to Hogarth, which is strongly reinforced by its caricatural and comedic overtone that could belong to the Commedia dell’Arte.

The exhibition repeatedly warns its audience of the political incorrectness of the paintings, almost as if anticipating some sort of scandal. There are indeed many depictions of assault, sexual misconduct and racist and xenophobic caricatures that the wall texts keep warning you about, incase Hogarth’s provocative humour offends even today’s audiences. Though this is something that I feel the artist would probably be extremely proud of.

More than an artist, Hogarth was an anthropologist, and today his exaggerated depictions of XVIII society are key to understanding that fervent time in history. Get your tickets at https://www.tate.org.uk/whats-on/tate-britain/exhibition/hogarth-and-europe.

Reviewed by Céline Galletti- Celine is a volunteer writer for Abundant Art. Originally from France and Italy, she follows her passion for writing and art by studying Comparative Literature at UCL, London. As an international student living in London, she is determined to fully experience and understand the city’s vibrant arts scene, and be a part of its creative storm.

Conversations about the realities of climate change can often be debilitating and unnerving. In ‘Can I Live?’ actor and activist Fehinti Balogun manages to make this conversation both emphatic, vibrant and energising, whilst still maintaining the potency and seriousness that issues surrounding the ticking time bomb of climate change ensue. Fehinti Balogun’s ‘Can I Live?’ is an informative piece about climate change from an intersectional point of view as well as an exploration of climate activism and the disproportionate number of black voices within the movement. It is told through afrobeat and hip-hop songs bustling with passion, emotive rhythmic spoken words and immersive performances.

‘Can I Live?’ is a very personal yet political story, the personal side combined with the political allows us to feel Balogun’s burning passion and power for the causes he is fighting for. Beginning in the comfort of his mother’s home Balogun reflects on his activism in relation to his family life; the path of an actor and environmental activist is not one which was carved for him growing up in a Nigerian household where his father pushed the motto “stay out of trouble, do your work and keep your head down” – he notes that staying out of trouble and keeping your head down are qualities that certainly do not mix well with activism. Additionally, he stresses the helplessness he felt whilst trapped inside the confinements of his mother’s home during the pandemic, unable to partake in the direct action that is fundamental to activism.

Balogun’s mother’s home is revealed to be the set of the Barbican theatre. We are plunged into a theatrical, surrealist performance where the extremities of global warming, climate genocide, the links between class and climate as well as the synonymy of climate change and colonialism are all exposed to us through Balogun’s zealous presentation. It is easy to feel detached from climate issues but Balogun does an extremely good job at both putting perspective (thus humanising them) and making this discourse around these issues compelling whilst stressing their gravity -“The more the emissions, the hotter it gets.” Balogun vigorously sings about the impact of greenhouse gasses on global warming, one of the facts that made it easier to internally imagine the impacts of global warming was the comparison between a 1.5 degree temperature rise of the planet is synonymous with the body reaching insanely feverish temperatures. Furthermore, Balogun centres much of his focus on Africa, particularly West Africa as a Nigerian man, this is where a large portion of his emotional attachment resides.

The visualisation of 1.5 degrees temperature increase causing a 6-month extension in drought season for West Africa and 3 degrees causing the drought season to last 2 years puts into viewpoint how alarming these issues really are – the extension of these seasons means crops cannot be grown for longer periods of time, starvation ensues and people die. This is just a glimpse of the sinister reality of climate genocide Balogun brings to light – it will give you chills.

“Why does nobody look like me?” is one of the core questions asked by Balogun in the play. The population of climate change activism circles is disproportionally white and Balogun has found himself uncomfortably aware of this throughout partaking in climate activism. This is something I’ve asked myself too – whilst we hear the necessary and powerful voices of those like Greta Thunberg, it is also important for voices like those of Vanessa Nakate and other black or POC voices to be at the forefront of the climate discourse. The perspective of a young black man is an important voice needed within the climate movement. An important conclusion he draws about the lack of POC within the climate movement is about necessity – survival is at the core of the lives of many POC, trying to put food on the table, looking after family at home and abroad, and in the words of Balogun’s mother in the play ‘waiting for home office papers.’ When these things are at the centre of your world it understandably becomes difficult to insert yourself into something like the climate movement.

Balogun’s rallying cries about the state of our planet come at an important time in climate change conversation as nations gather to discuss climate at COP26. Within the desperation and pleading sense of urgency of his words, he does stress that there is hope. Only 3.5% of the population is all that is needed for a successful political movement – climate change is not individual responsibility like we are often told, it is collective responsibility. Balogun stresses that we need to be angry and frustrated, we need to have our collective voice heard to enact change.

‘Can I Live?’ was directed by Daniel Bailey and in collaboration with the theatre company Complicite. It was filmed on the Barbican’s stage during the lockdown and is currently completing an online tour. Watch it here: https://www.barbican.org.uk/whats-on/2021/event/complicite-fehinti-balogun-can-i-live

Reviewed by Lian Lakhope. Lian is a MA Global Media and Communications student at SOAS and a volunteer writer for Abundant Art. Lian has written for a number of different publications, mostly about music, culture and film and she is enthusiastic about expressing her passion for creating art and media.