Manchester International Festival has confirmed that a major part of its 2023 programme will go ahead as planned, after the death of prolific composer and headlining artist Ryuichi Sakamoto.
The Oscar-winning composer and Japanese pop pioneer died on Tuesday last week at the age of 71.
Sakamoto had been diagnosed with cancer for a second time in 2021, saying at the time of his diagnosis that he would be ‘living alongside cancer’.
His death has been met with waves of sadness from those in the music and film industry, and beyond.
Manchester International Festival had just recently announced Sakamoto as a headlining artist for MIF23, with a groundbreaking new ‘mixed reality’ concert created by the composer in collaboration with Tin Drum.
ADVERTISEMENT
They have now confirmed that Kagami will go ahead as planned, ‘in accordance with his wishes’.
Factory International said in a statement: “We are deeply saddened to learn of the death of Ryuichi Sakamoto. We send our condolences to his family and those closest to him at this time.
ADVERTISEMENT
“In accordance with his wishes, our production of Kagami will go ahead during MIF23 as part of his unique legacy.”
We are deeply saddened to learn of the death of Ryuichi Sakamoto. We send our condolences to his family and those closest to him at this time.
In accordance with his wishes, our production of Kagami will go ahead during MIF23 as part of his unique legacy.
— Factory International (@factoryintl) April 2, 2023
In response to the bittersweet announcement that the show will go on, one person wrote: “I’ve been a big fan of his for 40 years, saw him play the RFH in 1996 & booked my tickets for Kagami yesterday. Am so very sad but glad the show will go ahead in his memory.”
Another person said: “Unfortunately expected, but very very sad. I am so glad we have the chance to see Kagami. Another piece of his beautiful legacy.”
ADVERTISEMENT
Someone else wrote: “Can’t quite believe this, having enjoyed Sakamoto’s work and delving into his back catalogue the last few years. Was already so excited for Kagami in July, but this will be all the more poignant now.”
Kagami will ‘fuse dimensional moving photography with the real world to create a never-before-experienced mixed reality presentation’ when it premieres in Manchester this June, as part of MIF’s wider festival programming.
Paying tribute to Sakamoto, Professor Brian Cox wrote: “He was a big part of my ‘80s musical experience – initially for me through his work with David Sylvian and Japan – but of course he leaves a magnificent catalogue of music behind.”
Massive Attack wrote: “An honour to share Meltdown 08 with you maestro. A genius, & a gentleman.”
REST IN PEACE RYUICHI SAKAMOTO
“Here am I, a lifetime away from you…”
Sad to learn of the passing of actor, composer, and producer @ryuichisakamoto. The renowned Japanese artist passed on Tuesday 28th March aged 71.
Manchester’s historic connections to slavery will be at the heart of a major new exhibition
Emily Sergeant
Manchester’s historic connections to slavery are to be explored during a major new exhibition coming soon to the city.
The Science and Industry Museum, in the heart of our city centre, is already known and loved for telling the story of the ideas and innovations that transformed Manchester into the world’s first industrial city.
But now, a new free exhibition is set to “enhance public understanding” of how transatlantic slavery actually shaped the city’s growth.
Produced by the Science and Industry Museum, in partnership with The Scott Trust Legacies of Enslavement programme, and developed with African descendent and diaspora communities through local and global collaborations, this landmark project will put Manchester’s historic connections to enslavement at the heart of a major exhibition at the museum for the first time.
Featuring new research, it will also explore how the legacies of these histories continue to impact Manchester, the world, and lives today.
Set to open in early 2027, the exhibition will run for a year in the museum’s Special Exhibitions Gallery.
Alongside that hub at the Science and Industry Museum itself, the project is also set to have a collaborative city-wide events programme, and a lasting legacy – with a new permanent schools programme, and permanent displays in the future too.
As mentioned, the new exhibition is part of The Scott Trust Legacies of Enslavement programme, which is a 10-year restorative justice project launched in 2023.
Manchester’s historic connections to slavery will be at the heart of a major new exhibition / Credit: Science Museum Group Collection
Through partnerships and community programmes, the project aims to improve public understanding of the impact of transatlantic slavery on the UK’s economic development, and its ongoing legacies for Black communities – with a strong focus on Manchester, the city in which The Guardian was founded back in 1821.
The museum’s existing gallery content and ongoing work around sharing the inextricable links between Manchester’s growth into an industrial powerhouse and a textile industry reliant on colonialism and enslavement will be developed through the project.
Through a “collaborative re-examination of the past”, the exhibition will also share a more inclusive history of a city that prides itself on being at the forefront of ideas that change the world.
It’s opening at the Science and Industry Museum in early 2027 / Credit: Science and Industry Museum
Speaking ahead of the exhibition’s arrival in early 2027, Sally MacDonald, who is the Director of the Science and Industry Museum, says: “This will be an exhibition about important aspects of our past that are profoundly relevant to the world we live in today.
“Revealed from the perspectives of those who experienced enslavement and whose lives have been shaped by its legacies, we will foreground stories of resistance, agency, and skill.
“The exhibition will explore themes of resilience, identity and creativity alongside exploitation and inequality, and will feature a specific focus on the ways that scientific and technological developments both drove and were driven by transatlantic slavery.”
Further details on the project will be announced in due course, so stay tuned.
Featured Image – Science Museum Group
Art & Culture
Better Man has bombed at the box office – but is the Robbie Williams biopic any good?
Danny Jones
So, Robbie Williams’ biopic Better Man has been out for a little while now and the question on many people’s lips – you know, apart from ‘why is he a monkey?’ – is, quite simply, is it any good?
Many of you may have already seen it, others may have absolutely no interest in hearing about Robbie‘s already well-publicised exploits (be they in ape form or otherwise), or maybe you’ve just been waiting to hear whether it’s any good before heading out to the cinema.
Well, if you’re judging it purely by the current headlines circulating online, you’d be forgiven for thinking it’s absolute rubbish. So far, Better Man has ‘tanked’ at the box office, making just over $1 million compared to a budget of nearly $110m (£90.8m).
However, given how pivotal the US viewing figures are, a big chunk of the commercial disappointment has come down to Americans largely not knowing who Robbie Williams even is and it’s no surprise that it’s done a little better here in the UK – though still not stellar. But again, ticket sales aside, is it good?
Better Man – Review
I wasn’t sure a (very good) CGI monkey Robbie Williams film was going to be any good either based solely on the trailer, but they nailed it.
*Once again, some spoilers ahead – though it is his life story, so we’re not really spoiling anything…
I’ll start this off by admitting that for all his foibles and controversies of the years, I am a Robbie fan; his music was always on in my house as a kid and well into my teens. Being born in the mid-90s, he was probably one of the first big pop stars to ever enter my world.
Growing up obsessed with football too, a charismatic, mainstream rock and roll-spirited figure in the mainstream who also loved the beautiful game and even took influence from chants heard around the grounds in his songwriting always made him extra appealing to me.
All that is just to say that I’m fully aware there’s probably some bias here, so I’ll still try to be as impartial and ‘objective’ as you can be with a film review. But back to the point, the short answer is yes: it’s good – very good, in my opinion.
If you’re similarly fond of the frenetic, funny and ferocious showman, you’ll obviously have a vested interest in looking back on his career thru a (somewhat simian) Lens, but even if you’re not, I still think you can get a lot of of the film and a greater insight into a captivating life story.
Monkey see, monkey do—make me sad, very sad…
This scene (among many) had us welling up. (Credit: Paramount Pictures)
For starters, put simply: as daft as it may seem, the monkey thing does work. It may come across like a strange gimmick when you first see the trailers but it doesn’t take much digging to realise that there’s quite a well-thought-out three-pronged approach behind it.
One of the first things the 50-year-old singer said on the press tour for this film is that he’s always felt “unevolved” and it’s something that’s brought up a couple of times in the film itself, so making him an ape rather than a modern Homo sapien is one way to way to communicate that.
Plus, not only does it obviously make any sad moments – and there are a lot of them – even more emotional and tear-jerking, especially during the scenes during Robbie’s childhood, but it also plays into the sad reality that he’s felt like a performing monkey for the majority of his life.
When you stop and think about the reasoning behind it feels a lot more considered than on first impression, and it certainly helps you empathise and, more importantly, sympathise with the troubled character you’re seeing on screen.
Robert vs Robbie
A very clever movie poster to boot.
And that’s pretty much the rub right there: this was always going to be at least a somewhat self-indulgent watch, not just because it’s a biopic but because it’s Robbie and that’s what his persona is about – but it is and always has been a performance in every sense of the word and the film does a great job of trying to distinguish ‘Robbie’ from Robert.
From seeing the origins behind being given that name specifically, his younger years and affectionate albeit mostly fraught relationship with his father; how the boom of Take That engulfed his entire world and even more so once he went solo, as well as the version of himself he’s shown to the world for last three decades, it’s clear he’s often struggled to find the line between the two himself.
It’s also very important to state the cheeky, cocksure Robbie Williams you were expecting to watch the rise of throughout this biopic has wrestled with a much lower opinion of himself than you could ever imagine. It’s a driving force behind the film and manifests in all manner of problematic and unpleasant ways, just as it did in real life. You see him see a lot of them in the crowd throughout the duration, in fact.
Because for anyone who isn’t aware, a lot of Robbie’s experiences are problematic and unpleasant; the early days as a boyband commodity, his substance abuse, struggles with mental health and beyond are all laid bare on screen in fairly graphic detail at times. A lot of the situations these issues spring from would feel hard to believe were it not for the fact it’s a true story with very little embellishment, if at all.
Manchester references are a bonus
One of the things that did stand out as a particularly surreal aspect of the film was the handful of references to Robbie’s intersection with Mancunian culture, which simultaneously felt familiar and somehow like going back in time to peep behind the curtain at a world that very few saw first-hand.
Again, the behind-the-scenes examination of how Take That transpired and those very dangerous, inappropriate and frankly unlawful series of events in nightclubs over on the likes of Canal Street feels like a fever dream (as it did for Robbie).
Perhaps the biggest buzz we got was the not-so-surprise appearance by the Gallagher brothers and ‘The Robster’s obsession with Oasis. The look is exactly what you’d expect and Liam‘s accent might not be perfect but it still gave us a thrill without feeling like pointless lip service.
All that being said, is the much-talked Robbie biopic a good enough film to warrant popping out to the pictures? Well, I’d certainly say so. Not only are the visuals and the CGI itself pretty flawless, but the motion capture is done so well that it never felt like I was taken out of the film at any point – even the very particular Stoke and Cheshire accents of Robbie and Gary Barlow are very convincing.
We knew there was going to be lots of humour too but there’s also a lot of impressive stuff the director does that I wasn’t expecting.
One of those is the transitions: there are lots of clever tonal switches done with great camerawork and effects (particularly during one driving sequence and some of the flashback frames) and they really do help covertly shift the mood so some of the darker moments don’t give you full on whiplash.
And lastly, the director’s fingerprints can be felt all over the movie as Michael Gracey’s The Greatest Showman pedigree certainly makes sections of the film feel more like a musical than I was expecting – but in a good way. Big bold cabaret choreography fitting of the man himself.
ADVERTISEMENT
After all, we all know most Robbie tunes are bangers but seeing them brought to life in these new and interesting ways really does make Better Man a better film than we’d even hoped for and it’s certainly good enough to be performing a lot better than it is at the box office right now. Maybe give it a go.
As far as I’m concerned, big stunning set pieces like this are just the tip when it comes to what makes the Robbie biopic a good film.
Daisy Jackson -
4th April 2023 
