

It's played a literal battlefield in Richard III and The Dark Knight. It's desolation needing little make-up. It's scale a character in itself threatening to usurp the leading man. It is at once monstrous and pitieous.






Currently on stage at the National Theatre in London, this revival of Tom Stoppard's 1977 play makes inventive use of cast and orchestra.


Meetalls; lamixx; maryandjane; AmpersandE; Meetalls; lirola; lamixx; BethMillner; hoakonhelga; sharmadesigns; yorktownroad; Nikology
Slapped down in something of a wasteland NE of Beijing, the CNFM takes some effort to get to. Hidden down a long road behind a small row of shops, it is peculiarly idiosyncratic and on a quiet day (perhaps every day) it's a lonely place to be. However, it's impressive facade encloses a fantastic repository of Chinese cinema history. Add to that a rather psychedelic (and superfluous) lobby with winding staircase, the walls of which change through a neon spectrum of colours as a screen plays film clips and a Hollywood-epic worthy score echoes around.
Summer is over, and winter is setting in. But you can't say it isn't pretty. Even ugly railway fencing in the midst of city terraces can be beautified, and I'm certainly not complaining. A little camouflage goes a long way.