Yanis Varoufakis’ ‘Adults in the Room’ offers an insider’s view of the Greek financial crisis
By Elle Hardy
‘Wild Bore’ at the Malthouse Theatre is an irreverent criticism of criticism itself
By Alison Croggon
Image of David Lynch and Mark Frost
The groundbreaking series’ co-creator and co-star discuss its enduring appeal and new season
By Andy Hazel
ACCA’s exhibition of contemporary Indigenous art was a long overdue success
By Quentin Sprague
Joan Didion’s ‘South and West’ only scratches at the surface of America’s complex Southern states
By Elle Hardy
Malthouse Theatre and Sydney Theatre Company’s co-production of ‘Away’ explores the shadows of Gow’s sunny and much-loved text
By Alison Croggon
An irresistible collection of columns from a master storyteller
By Kevin Rabalais
Kelly Reichardt’s latest film is another quiet triumph
By Anwen Crawford
Oil, money, murder and the birth of the FBI
By Elle Hardy
Cover of The Idiot
Jonathan Cape; $32.99
By Stephanie Bishop
Cover of Exit West
Hamish Hamilton; $32.99
By Helen Elliott
Image of Rose Nolan, Big Words – To keep going, breathing helps (circle work), 2016–17
What does ‘The National’ say about contemporary Australian art?
By Julie Ewington
Image of Donna Sherwani
Detained asylum seekers tell their own stories in ‘They Cannot Take the Sky’
By Maria Tumarkin
Still from Get Out
‘Get Out’ is a sharp mix of horror, satire and racial commentary
By Shane Danielsen
A new compilation celebrates the devotional music of jazz legend Alice Coltrane
By Anwen Crawford
‘Joan’, created by Kate Davis and Emma Valente, is sensory, shapeshifting theatre at its very best
By Alison Croggon
Why the TV adaptation of Liane Moriarty’s novel is not trashy soap but compelling drama
By Claire Corbett
‘Berlin Syndrome’ and the naivety of the tourist–artist
By Luke Goodsell