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Photo by Stephanie Diani In an ever-increasingly heated global socio-political landscape, it is essential to platform the voices of the unheard and censored. Nominated for Best International Film at the Film Independent Spirit Awards, and winner of Silver Yusr Feature Film at Red Sea International Film Festival, Cherien Dabis’ All That’s Left of You has emerged in an exceptionally essential and polarising time. The film is Dabis’ third feature, created by her own US-based pro

The Standard called it “a feast for the eyes and the mind,” while The Guardian described it as “a mucky joy to behold.” Despite its modest-sounding premise, 'Dirty Looks' curated by Karen Van Godtsenhoven, is one of the most beautiful exhibitions I have ever visited. Highly relevant too, considering I had just read Susan Strasser's Waste and Want in December (worth the read if you're interested in sustainability and design.)

Photo Courtesy of Hilary Woods Irish musician, analogue filmmaker and writer Hilary Woods has always treated music as a lived, bodily practice rather than a fixed form. Born in Dublin, Woods first came to prominence as the bassist in JJ72 , before carving out a solo path that blurs the lines between song, sound art, text and image. Across her work, music becomes a sensorial space where memory, feeling and physical presence collide. Released on 31 October 2025 via Sacred Bone

Photo Courtesy of Imogen Thomas Formed in Melbourne in 2011, These New South Whales have spent the past decade carving out a space where punk urgency, sharp humour, and community-first thinking coexist. From recording their earliest material in a WWII bunker in Western Sydney to touring across Europe and earning an ARIA nomination for their 2022 self-titled album, the band has always followed instinct over expectation. Their latest record, GODSPEED , released at the end of No

The National Portrait Gallery brings together an unprecedented number of artworks from Lucien Freud, one of the 20th century's most prominent figurative painters. Tracing the creative process from sketches to completed paintings, this exhibition creates a tender portrayal of the life cycle and the art of portrait.

Haute Couture Week is a battle of craftsmanship and creativity. A space in which designers convey abstract motifs through their collections. In Jonathan Anderson’s debut at Dior, it became immediately clear that his design language was not contingent on his work at Loewe. While he retains a sense of playful elegance and trompe l’œil elements, this collection stood as a defining moment of Haute Couture Week in its own right.

On my last call of the day with Ma, I hear from miles away about the family gathering on the floor, as is customary across Bengali households, and chat over the steam and smell of masala chai and vegetable croquettes. I smile, and try to make do with the last piece of gulab jamun tucked at a corner in my fridge.

Photo by Yao KG (Kultured Glass) is a project rooted in reflection, observation, and confidence. Emerging from Brighton and now shaping her sound in London, KG approaches music as a way of understanding herself rather than defining a genre. What began as a deeply private practice has slowly unfolded into something shared, guided by instinct, curiosity, and moments of affirmation that felt impossible to ignore. Drawing influence from artists like Mac Miller and Billie Eilish,

It is January 5th and, already, the pressure is on. My social media is flooded with posts warning which prints, colours and silhouettes I MUST invest in before the season’s over – enough already! I do wonder, however, if these harmful trend predictions will still exist in the same format come this time next year? It’s well known that the aesthetic trends which gain the most traction are usually rooted in broader cultural and economic shifts, and, after 2025’s storm of fast fa

Photo from Wikimedia Commons The Emperor of Gladness , an Ocean Vuong novel published in May 2025, is a work of American fiction. But is it any more fiction than whatever promises America makes to its inhabitants, if not to the world? A severe shift from the epistolary, poetic form of On Earth, We’re Briefly Gorgeous (an inescapable title in an English Lit classroom) and the experimental poetry collections published in previous, Vuong attempts to write the quintessential A