Arts and Entertainment 'Pussy riot butterfly' (Nadya, Masha & Katya), acrylic and collage on handmade paper, 2013

Alice Jones' Arts Diary: The artist returns for her first exhibition in eight years

Oscar winners: The full list

These are the winners of the 80th Academy Awards

A night of French triumph at the Baftas

Atonement's 14 Bafta nominations may have led to feverish predictions of a golden moment for British film but yesterday's awards ceremony turned out to be a triumph for French cinema as a biopic about the tumultuous life of the singer Edith Piaf became the biggest winner. La Vie En Rose scooped four Bafta awards at a ceremony at Covent Garden's Royal Opera House, despite the winning odds for Joe Wright's film adaptation of Ian McEwan's novel Atonement starring Keira Knightley, who walked away empty-handed.

The 5-minute Interview: Corey Johnson, Actor

'My mother once reminded me that it wasn't too late to apply to law school'

Cloverfield, (15)

Flee, scram – but take a Steadicam

British films boost cinema ticket sales

Cinema-goers in Britain and the Republic of Ireland spent £904m at the box office in 2007, up 8 per cent from the previous year, figures showed yesterday.

The Bourne Supremacy (12A)

A superspy is Bourne

Film: Double Bill - JEREMY PODESWA, DIRECTOR OF `THE FIVE SENSES', ON HIS IDEAL CINEMATIC PAIRING

Sunday, Bloody Sunday (Dir John Schlesinger, 1971) The Double Life of Veronique (Dir Krzysztof Kieslowski, 1991)

Arts: `Little Miss Period Drama' breaks free

She's best known for roles involving elaborate dresses and the novels of EM Forster. But for her latest part, Helena Bonham Carter has swapped her corset for a wheelchair - and made her most personal film to date. All she needs to overcome now is prejudice. By James Rampton

Critics Choice: For film fans, there's no competition

THE London Film Festival is 42. And if it doesn't claim to offer the answer to life, the universe and everything, its programme contains a wide enough selection of materials with which to begin the search. Unlike Cannes or Venice or Toronto, the LFF is a non-competitive festival, which means that its organisers don't have to bribe directors with the promise of a prize in order to secure a screening of their work. As a result, there's enough on the schedule to juice the glands of the most jaded cinephile. The festival opens on Thursday with the international premiere of Little Voice, Mark Herman's film of Jim Cartwright's hit play, with the original star (Jane Horrocks, above) joined by Jim Broadbent, Ewan McGregor and Michael Caine. In the New British Cinema category, you can catch Ian McKellen as the irresistibly perverse Hollywood director James Whale (creator of The Bride of Frankenstein) in Bill Condon's Gods and Monsters; Emily Woof as a phone-sex operator in Stewart Sugg's low-life thriller Fast Food; Linus Roache dodging Bosnian bullets in David Attwood's Shot through the Heart; Kenneth Branagh nursing Helena Bonham Carter through motor neurone disease in Paul Greengrass's Theory of Flight. But the most exciting entries come from farther afield: Petr Zelenka's Buttoners is a surreal slice of social satire and sci-fi from the Czech republic, Alexei Balabanov's Of Freaks and Men is a wildly bizarre tale of pornographers in turn-of-the-century St Petersburg; Theo Angelopoulos's Eternity and a Day is an esoteric Balkan odyssey that picked up the Palme d'Or at Cannes this year; Shinya Tsukamato's Bullet Ballet is an explosion of toughnut stylism from Japan; and Francois Ozon's Sitcom offers bizarre group sex in the French suburbs. And if that's not interesting and varied enough for you, go and ask your parents where they went wrong.

The life of Brian and his volunteers

As part of the Gate Theatre's A Home for the Exiles season, Brian Friel's Volunteers is receiving its British premiere. Set on a construction site in Dublin, an archaeological dig is in progress, and layers of Irish history are unearthed: a Norman jug, a Viking skeleton with a hole in its skull. As they work, the diggers question their own histories and imagine alternative stories of victimhood for "Leif" the Viking. As a metaphor, its currency is obvious: Mick Gordon, the Gate's Northern Irish artistic director, believes that the people "at home" are now "involved in a difficult and essential process: the disentangling of personal histories from ideological ones." But Friel's (above) metaphorical template is, with fitting inevitability, something of a relic itself. Volunteers was written in 1975, the same year Seamus Heaney excavated "Viking Dublin" in North. Despite the success of Friel's work here, it's not much of a surprise that it took so long to arrive. His previous play, The Freedom of the City, a thinly veiled response to Bloody Sunday and the Widgery report, outraged London reviewers in 1973; and, on the surface, Volunteers is also very much of its troubled time. The diggers are Republican internees, whose volunteering for a civilian cause has made them marked men in prison. But the play represents a transitional stage in Friel's career. He drew back from impassioned polemics and used the political context to challenge historical determinism through an incisive mixture of storytelling, role-playing and irreverent humour. This oblique and bravely inconclusive approach was met with some bemusement in Dublin. One critic lamented that "the great dramatic subject of internment" hadn't received the "great play" it deserved. But, as Translations and Friel's other subsequent plays have proved, the dramatic subject is just the start; the greatness lies in the ground he excavates around it.

Coogan's straight run: from bonks to bungs

The price of fame for Steve Coogan has been the prying eyes of the tabloids. So why has the comedian taken on a straight acting role as Mike Gabbert, the newshound who exposed match-rigging in the Sixties? By James Rampton

The border is a state of mind

Fisk in Ireland: Part 3; In his third and final report on Northern Ireland, The Independent's award- winning war reporter Robert Fisk goes in search of the dividing line that symbolises the island's lingering torment

Bloody Sunday: the ghosts that won't lie down

As its anniversary looms, David McKittrick looks at the legacy of a black day that left many questions

Long lens of the law: Big Brother is watching you. It started in a small Scottish town Paul Greengrass report

The cameras caught every nasty detail. On a quiet night last autumn four men were hanging around the corner of Stirling and Bank streets in the centre of Airdrie, an old industrial satellite town of Glasgow. They had no obvious reason for being there, so the camera lingered on them. The first person to come round the corner was a youth who sensed their malice immediately. The thugs ran after him, but he was too fast.

Penelope Gilliatt dies

The writer Penelope Gilliatt, 61, died on Sunday. She became a film critic for the Observer in 1961 and wrote the 1971 screenplay for the film Sunday, Bloody Sunday. She also wrote five novels.
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