Louder than Bombs: Joachim Trier’s thorniest film might be his best

Long before Joachim Trier made the Oscar-winning The Worst Person in the World and this year’s festival megahit Sentimental Value, there was 2015’s Louder than Bombs: a far stranger, slipperier film worth watching for Isabelle Huppert’s spectral turn alone. She plays a character also called Isabelle, a renowned war photographer whose secrets haunt her family three years after her sudden death.Her teenage son Conrad (Devin Druid) still daydreams in class about the car crash that claimed her life, imagining her final, panicked moments. His brother Jonah (Jesse Eisenberg) and father Gene (Gabriel Byrne) know (and conceal) the truth: that her fateful, split-second swerve was an act of suicide.The film’s cacophony of grief and anxious romance erupt within upstate New York, 6,000km away from the Nordic, millennial anomie of Joachim’s informal Oslo trilogy

Creative Australia awards Khaled Sabsabi $100,000 grant months after dumping from Venice Biennale

Creative Australia has awarded a $100,000 grant to artist Khaled Sabsabi, months after he was controversially dumped and then reinstated by the federal arts body as Australia’s representative for the 2026 Venice Biennale.The grant – one of 16 made under Creative Australia’s Visual Arts, Craft and Design Framework – will fund the creation of a new body of work for a solo exhibition opening in March 2027 at Adelaide’s Samstag Museum of Art, which will also include Sabsabi’s Venice Biennale work.In August, Sabsabi was also awarded a grant by Create NSW for a major new work in western Sydney.The two commissions represent a silver lining in a tumultuous year for Sabsabi, a Lebanese-Australian artist from western Sydney. In February, he and curator Michael Dagostino were announced as Australia’s representatives for the prestigious Venice Biennale; less than a week later they were sacked, after criticism by the Australian and the then shadow arts minister, Claire Chandler, over Sabsabi’s use of imagery in previous artworks of the 9/11 terrorist attacks and former Hezbollah leader Hassan Nasrallah

‘The vocals were on another level’: how Counting Crows made Mr Jones

Our first four records had been mostly made in houses in the hills above Los Angeles. August and Everything After was our first major label album, so it was a pretty big deal. Our advance was $3,000 each; I bought a 1971 cherry red VW Karmann Ghia convertible and drove it to LA.I would get up every morning and listen to Pickin’ Up the Pieces by Poco, which is like the Beatles doing country music. I also had this Benny Goodman album that I was listening to a lot – my dad had picked it up as a free giveaway at a Texaco station when I was a kid

‘A palette unlike anything in the west’: Ben Okri, Yinka Shonibare and more on how Nigerian art revived Britain’s cultural landscape

To mark a new exhibition at Tate Modern, leading British-Nigerian cultural figures trace the impact of their heritage on their work, and consider its growing influence on the world stageSome primal energy was unleashed among Nigerian artists in the years leading up to independence. The century-long reign of colonialism was nearing its end and the people of Nigeria, with its over 300 tribes, its ebullient energy, were poised for a new future in which they would determine the shape and context of their lives.And the people who most articulated that double position, that paradox of modernity and tradition, were artists in all their stripes. Artists across the country, in constant dialogue with one another, created works that evoked their traditions but in a contemporary context. Artists such as Yusuf Grillo in the north, Bruce Onobrakpeya from the midwest, Ben Enwonwu from the east and Twins Seven Seven from the west were remaking the dream of art in a rigorously Nigerian context

Perfume Genius: ‘I really like body hair! I like a bush. I didn’t even notice Jimmy Fallon censored mine’

The singer on looking like Amelia Earhart, the time he set his mother’s house on fire and his beef with the Octopus Teacher guyEveryone was talking about your pubic hair after it was censored on The Tonight Show. Should we all be showing more or less bush?More! I really like body hair. I like a bush. I like the whole deal. I’m sure if I didn’t have a bush, they wouldn’t have censored it

My cultural awakening: ‘Kate Bush helped me come out as a trans woman’

As a not-yet-out trans teen, The Sensual World – the singer’s rejection of masculine influence – felt like an invocation of everything I was feelingIt wasn’t safe for me to discover The Sensual World, the eponymous track on what Kate Bush described as her “most female album”. The song was intended to be a rejection of the masculine influence that had unwittingly shaped the artist’s previous work, and an ode to something taboo within the female experience. Based on Molly Bloom’s soliloquy in James Joyce’s Ulysses – a stream of consciousness in which the character reflects on her experiences of nature, sex and love – Bush wanted to celebrate the experience of life inside a woman’s body, and the ways it gives her spiritual and sexual pleasure. I knew that, for someone like me, who was already being bullied, to openly love a song like this could make me an even more obvious target to those who saw femininity as a sign of weakness. More daunting than that, it might force me to confront my own repressed desires