THE STORY: Somewhere in the Swiss Alps, grande dame of crime literature Patricia Highsmith lives with an impressive collection of books, and a somewhat sinister collection of guns and knives. She finds solace in her solitude, her cats, and cigarettes. But when a mysterious international visitor arrives at her perfectly secluded home, her love of fictional murders becomes a dangerous reality.
Pools. Tennis courts. Luxury station wagons. Welcome to Sunnyside. Olivia wants to sleep with her teacher. Harry wants a B&O sound system. Alice want a cure for writer's block. Molly wants to move in with the pool man. Justin wants to kill his mother. Grace wants to be famous, even if she is only eleven. And Scarlett wants what she can't have and will do anything to get it. 'Eloquent, rich, vivid . . . Murray-Smith's novel presents a mirror to the realities of noughties living, where no one is what they seem and relationships are changeable as the house prices' Scotland on Sunday 'Joanna Murray-Smith demonstrates a Stoppardian git for pithily combining intelligence, wit and pathos' Independent (UK)
THE STORY: After thirty-two years, a marriage shatters into pieces. Acclaimed journalist Gus leaves Honor, a poet, wife and mother, for Claudia, a bright young journalist not much older than his and Honor's twenty-four-year-old daughter, Sophie. In
It's twilight, and a mother and father wait for the promised return of their daughter who vanished ten years earlier. A stranger arrives at their doorstep, warning them that their daughter will only return on certain, agonising terms.
Sadie and Ed meet Martin and Chloë at a holiday resort and instantly hit it off, despite coming from completely different worlds. When Martin saves Ed's life, everyone knows the debt can never be properly repaid. But Ed is rich and Chloë and Martin have a need so great it seems divine providence when Ed, wanting to show his gratitude, gives the young couple a year to decide on an appropriate gift. Yet when the year is up, surely Chloë and Martin's wish is something no-one could possibly grant? Wrapped in Joanna Murray-Smith's glinting dialogue, The Gift is a witty examination of our modern moral confusions. (3 male, 2 female).
THE STORY: After thirty-two years, a marriage shatters into pieces. Acclaimed journalist Gus leaves Honor, a poet, wife and mother, for Claudia, a bright young journalist not much older than his and Honor's twenty-four-year-old daughter, Sophie. In
THE STORY: Somewhere in the Swiss Alps, grande dame of crime literature Patricia Highsmith lives with an impressive collection of books, and a somewhat sinister collection of guns and knives. She finds solace in her solitude, her cats, and cigarettes. But when a mysterious international visitor arrives at her perfectly secluded home, her love of fictional murders becomes a dangerous reality.
There has been a significant surge in recent Argentine cinema, with an explosion in the number of films made in the country since the mid-1990s. Many of these productions have been highly acclaimed by critics in Argentina and elsewhere. What makes this boom all the more extraordinary is its coinciding with a period of severe economic crisis and civil unrest in the nation. Offering the first in-depth English-language study of Argentine fiction films of the late twentieth century and early twenty-first, Joanna Page explains how these productions have registered Argentina’s experience of capitalism, neoliberalism, and economic crisis. In different ways, the films selected for discussion testify to the social consequences of growing unemployment, rising crime, marginalization, and the expansion of the informal economy. Page focuses particularly on films associated with New Argentine Cinema, but she also discusses highly experimental films and genre movies that borrow from the conventions of crime thrillers, Westerns, and film noir. She analyzes films that have received wide international recognition alongside others that have rarely been shown outside Argentina. What unites all the films she examines is their attention to shifts in subjectivity provoked by political or economic conditions and events. Page emphasizes the paradoxes arising from the circulation of Argentine films within the same global economy they so often critique, and she argues that while Argentine cinema has been intent on narrating the collapse of the nation-state, it has also contributed to the nation’s reconstruction. She brings the films into dialogue with a broader range of issues in contemporary film criticism, including the role of national and transnational film studies, theories of subjectivity and spectatorship, and the relationship between private and public spheres.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.