Fan Letter

‘No other type of cinema in recent decades has worshipped reality in this intense manner’

 

By Mark Cousins

It has created a space of inclusion in a patriarchal art scene in which the visibility of female practitioners was minimal

By Bisi Silva

‘Even with the softest breeze, it comes alive and gently plays with the world around’

By Kulapat Yantrasast

‘Inside the cemetery, hundreds of names descend in chronological order, but time’s forward motion clearly does not signify progress here’

By Jennifer Kabat

‘The way she stumbled on stage, with her smeared lips and perfect legs, appeared at once criminally affected and wildly persuasive’

By Michelle Orange

‘I stayed first for an hour, then whole afternoons and, eventually, days’

By Jonathan P. Watts

Who’s Afraid of Barney Newman (1968) invokes a multiplicity of diasporic readings’

By Rianna Jade Parker

‘It’s all there: charm, humour, ethics, friendship’

By Tom Jeffreys

‘These works render the real, estranged personalities of our present perturbing, alluring; exquisite’

By Gabriella Pounds

‘I knew, while trying that chair, that I wanted whatever the future had to offer’

By Cody Delistraty

For all the camp and capering, Eddie and Patsy’s antics also have a plaintive, even existential tinge

By Matthew McLean

‘To me, it offers a particular emotional experience – something like joyful grief’

By Laura McLean-Ferris