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The challenge is to update it without losing its soul. In March, 39 years after the building was completed, it will reopen with a revamp by John McAslan + Partners. The Burrell Collection in Glasgow is a quirky but brilliant building designed around both its parkland setting and a personal, magnificent and eclectic array of objects – a Romanesque arch, for example, is built into its fabric. Michael Hogan M usic: post-punk is evergreen Later in the year, Fleishman Is in Trouble will air on Disney+ and Anatomy of a Scandal on Netflix. On Netflix, Benedict Cumberbatch leads a reboot of John Buchan’s conspiracy thriller The 39 Steps, while Game of Thrones showrunners David Benioff and DB Weiss tackle Richard Powers’s sweeping eco-epic The Overstory. Keeley Hawes stars in Sky’s modern-day reimagining of John Wyndham’s sci-fi classic The Midwich Cuckoos. Coming in early spring, screenwriter Steven Moffat has adapted Audrey Niffenegger’s romance The Time Traveler’s Wife for HBO/Sky, with Rose Leslie and Theo James as the magical lovers. This will be followed in February/March by Sally Rooney’s Conversations With Friends, from the same BBC team that brought us lockdown hit Normal People. First out of the blocks this month is Len Deighton’s The Ipcress File on ITV, with Joe Cole taking on the role of bespectacled spy Harry Palmer.
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Indeed, the TV drama slate will begin to resemble your bookshelf come to life. Happily, that means there’s a backlog waiting for broadcast this year.
Photograph: HBOĪ quirk of pandemic production delays was that literary adaptations were unusually thin on the ground during 2021. Theo James and Rose Leslie in Steven Moffat’s adaptation of The Time Traveler’s Wife.
Both are formally bold, bracingly unconventional films giving praise to the messy bitch, someone we can all relate to, one way or another. Meanwhile, Harry Wootliff’s True Things (11 March) and Joachim Trier’s The Worst Person in the World (25 March) embrace the chaos of relationships and the car crash of career ambitions. But, crucially, neither is portrayed as a villain. In the former, Olivia Colman’s self-described “unnatural mother” abandons her children for several years to pursue her career in the latter, Penélope Cruz’s character, facing an impossible situation, makes all the wrong choices. Depictions of women have been freed up by a rejection of the traditional good versus bad mother binary, in films such as Maggie Gyllenhaal’s The Lost Daughter (now on Netflix) and Pedro Almodóvar’s Parallel Mothers (28 January).
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And the movie landscape is a whole lot more satisfying for it. Photograph: Everett Collection Inc/AlamyĪ welcome addition to cinemas in the coming months is a collection of stroppy, unpredictable, unreliable and thoroughly difficult women. Milena Smit and Penelope Cruz in Pedro Almodóvar’s Parallel Mothers. Laura Cumming F ilm: stories of complex, complicated women And in March, the Fitzwilliam Museum in Cambridge focuses on David Hockney’s interactions with the different technologies of viewing, old and new, and with past art from Fra Angelico to Ingres and Manet. The Ikon Gallery in Birmingham has what promises to be a riveting show of paintings by Carlo Crivelli, arguing that the Italian Renaissance master was as radically outlandish as Magritte. In February, Louise Bourgeois’s eerie stitched and stuffed figures get an overdue outing in The Woven Child at London’s Hayward Gallery, while Ai Weiwei juxtaposes new works against ancient Chinese objects to acute political effect at Kettle’s Yard in Cambridge. Eventually, as the show reveals, the two became savagely indistinguishable. Dogs, hawks, monkeys, baboons: Bacon painted them like people and people as if they were creatures. The new year offers a great resurgence of solo shows, starting in January with the Royal Academy in London’s Francis Bacon: Man and Beast, already postponed by a year, but in this case better late than never. Surveillance Camera with Plinth by Ai Weiwei, 2014.