Culture
A Future in the Light of Darkness review: Imagined engines of desire
Modern Art Oxford’s exhibit Frieda Toranzo Jaeger: A future in the light of darkness counters the potential for automated vehicles and social media algorithms to consume our future reality. With...
Taylor Swift’s The Tortured Poet’s Department: Who tortures the poet?
The most tortured love affair on Taylor Swift’s new album is her relationship with...
Christian Atheism by Slavoj Žižek review
‘And what did the twentieth century want with religion, already well worn and threadbare...
The Oxford Fashion Gala: A stellar display of talent
The evening of Wednesday 8th May brought a show that transcended the limitations of...
Film around the world: Germany’s The Lives of Others
I’m sure that those of us who studied A-Level German back in the day...
What Makes A Classic: 2001: A Space Odyssey
Cinema drugged up to its eyeballs, says Benjamin Kirby
Review: Four Lions
Alistair Smout reviews Chris Morris' controversial new comedy
Why We’re Fussed About Fassbender
Jane-Marie Saldanha talks to actor Michael Fassbender
What Makes A Classic: Singing in the Rain
Why Singing in the Rain has such staying power.
LIDF Blog: Part One
The Cherwell's blog from The London International Documentary Festival
What Makes A Classic: On The Waterfront
Jacob Williamson discusses Marlon Brandos's performance in On The Waterfront
Online Review: Eyes Wide Open
A refreshing take on forbidden love says Esther Kent
What makes a classic: Amelie
One film can change your life forever
Online Review – No Exit
Emily Hawes takes advantage of the free advertising in Cherwell Stage?
Online Review: Robin Hood
Sophie Adelman gives her verdict on Ridley Scott's latest release
4th Week Photo Blog
Terrific photography from around Oxford* v. 0.4
The Thirties: An Intimate History
Olivia Williams talks to Juliet Gardiner about that 'low, deceitful decade'
Carnaby Street Fashion – A Retrospective
Former Elle Fashion Director tells Olivia Williams that youth culture needs to up its game
Online Review – Pool (no water)
St Catz lobs an avant-garde grenade at Oxford’s classical theatre
