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The Complete Entertainment LandscapeThis week offers a diverse range of entertainment options across cinema, music, art, and more. Whether you're looking to head out or stay in, there's something for every cultural enthusiast.New Cinema ReleasesBackrooms - Out now: This A24 horror film capitalizes on the internet phenomenon of Backrooms, featuring an infinite empty limbo where characters wander hoping not to encounter Entities. Starring Chiwetel Ejiofor, Renate Reinsve and Mark Duplass.Power Ballad - Out now: A feelgood drama about a wedding singer (Paul Rudd) who befriends a down-on-his-luck boyband star (Nick Jonas), leading to a hit single and subsequent resentment. Directed by John Carney.Tuner - Out now: A piano tuner with heightened hearing who also becomes a world-class safe cracker, leading to chaos. Stars Leo Woodall.Leonora in the Morning Light - Out now: A drama about surrealist painter Leonora Carrington, featuring encounters with Salvador Dalí, André Breton and Max Ernst. Based on the book by Elena Poniatowska.Live Music PerformancesCallum Au Big Band - Kings Place, London, 30 May: Composer-arranger and trombonist Callum Au showcases his mastery of styles from swing to salsa, funk and postbop jazz, launching his new album Sing Seven Seas.Twice - The O2, London, 3 & 4 June: The nine-piece K-pop girlband's world tour in support of their album "This Is For" features their shiny, genre-hopping discography plus solo work.Lany - 2 to 6 June; tour starts Glasgow: The LA soft-rock duo celebrates their discography with lyrically introspective songs like Super Far and Malibu Nights.Handel's Orlando - Longborough Festival Opera, Moreton-in-Marsh, 30 May to 7 June: The festival kicks off with Handel's chivalric tale directed by Sinéad O'Neill, featuring rising stars and the Academy of Ancient Music.Art ExhibitionsCamille Henrot - The Perimeter, London to 25 July: This French artist's exhibition focuses on her drawings, known for being dense, complex, and hyper-conceptual.

The British Solving Championship: An Opportunity for Chess Enthusiasts This week’s puzzle is a chance to enter an annual national competition in which Guardian readers ­traditionally perform well and in ­considerable numbers. White in the diagram, ­playing as usual up the board, is to play and checkmate in two moves, against any black defence. The Event Details The puzzle is the first stage of the annual Winton British Solving Championship, organised by the British Chess Problem Society and sponsored by the investment ­managers ­Winton. This competition is only open to ­British ­residents and entry is free. To take part, simply send White’s first move by post to Nigel Dennis, Boundary House, 230 Greys Road, Henley-on-Thames, Oxon RG9 1QY, or by email to [email protected]. Entry Requirements and Deadline All entries must be postmarked or emailed no later than 31 July 2026. Entrants must provide their name and home address. Juniors under 18 on 31 August 2025 must also give their date of birth. The Competition Structure The best 15-20 players from the postal round, plus the best juniors, will be invited to the final at Harrow school on Saturday 13 February 2027, where the prize money is expected to be at least £1,600. The winner of the final will have the right to represent Great Britain at the 2027 world ­solving championships, an event where GB are often medal contenders. A Note on Chess and Professionals Back in the 1950s most top English players were amateurs, often civil servants or teachers, who competed in tournaments during their vacations. After the 1970s Fischer boom and English successes brought an influx of sponsors, chess professionals could earn a decent living, but the tide turned again during the 1990s. The breakup of the Soviet Union brought harder international competition, while Nigel Short’s world title defeat and the move to screen rather than print marketing drove sponsors away. A New Grandmaster: Harry Grieve Harry Grieve became England’s latest grandmaster on Tuesday when the 25-year-old, who was British champion in 2022 and helped CSC/Kingston finish second in this season’s UK 4NCL League, won first prize in Budapest with a 7/9 total.

The Masterpiece of John Woo The title of this 1990 John Woo extravaganza might lead the uninitiated to expect a chillingly focused, targeted assassination. Actually, there are innumerable bullets and innumerable heads in this over-the-top gonzo spectacle. It is a crime thriller, a wartime action film set in Vietnam, but it offers something other than the usual Hollywood perspective; it is a parable of greed comparable to The Treasure of the Sierra Madre, and even a kind of romantic melodrama. The Symbolic Bullet There is, however, one key bullet in a head, a literal bullet lodged in the skull of someone who achieves a macabre zombie-like semi-survival, the bullet being symbolic of the way violence takes root in the brain, dehumanising its victim. The final “boardroom” scene disclosing this image is toweringly mad and strange. Yet in this movie, as in so many other Woo films, we can see how the director counterintuitively uses sad music – harmonica, woodwind – over grisly, brutal action sequences, as if what he wants us to register is not the violence or the shock but just how poignantly futile and pathetic it all is. The Plot Unfolds The setting is – initially – late 60s Hong Kong; Tony Leung plays Ben, a young guy getting married to his sweetheart Jane (Fennie Yuen), and on hand are his buddies Frank (Jacky Cheung) and Paul (Waise Lee). This trio are involved in a gang war with a rival mob who corner Frank when he has gone to get cash from the local moneylender to pay for the wedding. The confrontation ends in violence and, simply to get away and avoid the heat – Woo has a cameo as a police inspector – the three guys accept a crooked job from a local gang boss smuggling contraband pharmaceuticals in Vietnam. The Climax In Saigon, all their plans explode in pure anarchy; they are at first arrested under suspicion of working for the Vietcong, then upgrade their strategy to cynical arms smuggling for the North Vietnamese, and stealing the gold belonging to the local wiseguy who was supposed to be distributing their drugs. They make contact with a worldly fixer called Luke (Simon Yam), who has a Catherine Deneuve poster in his apartment, and also gallantly undertake to rescue a Hong Kong singer Sally (Yolinda Yam), who has been trafficked to Vietnam to sell sex. They end up on the spectacular field of battle itself (with helicopters, explosions, burning villages), where Paul, increasingly obsessed with the gold, finds himself at a key moment at mortal risk of detection if he cannot keep the wounded Frank quiet, whose cries of pain might alert the enemy to their position. The Legacy It’s an extraordinary, uninhibited barnstormer from Woo, who takes us from regular, domestic crime to military chaos with confidence and sweep. One moment, in which someone stands in front of a tank, even appears to echo the Tiananmen Square protests. No one else could have made it. The Release Bullet in the Head is in UK cinemas from 1 June, and on 4K UHD and Blu-ray from 22 June.

The Film’s Core Concept: Turning Internet Liminality into CinemaThe Guardian review details how *Backrooms* follows architect‑turned‑store‑owner Clark (played by Chiwetel Ejiofor) as he discovers a portal to an endless maze of fluorescent‑lit, drop‑ceiling rooms. The film expands the viral “backrooms” meme—originally a series of YouTube shorts made with Blender and After Effects—into a feature‑length narrative while retaining its minimalist visual language.Production Insight: A 20‑Year‑Old Director’s Low‑Budget MasteryDirector Kane Parsons, the youngest ever to helm an A24 feature, built the original series using free software, demonstrating how low‑cost tools can generate high‑impact horror aesthetics. The movie’s production emphasizes practical set design—repeating office‑style corridors, yellow lighting, and drop ceilings—to evoke the “junkspace” described by architects like Rem Koolhaas.Financial Snapshot: A24’s Continued Investment in Indie HorrorBudget details were not disclosed, but A24’s recent horror slate averages $5‑10 million per film.Box‑office expectations align with the studio’s strategy of modest budgets paired with strong niche appeal.Why It Matters: Architecture as a New Horror FrontierThe film taps into academic concepts such as Mark Augé’s “non‑places” and Juhani Pallasmaa’s idea of architecture as mental space, positioning the built environment itself as the antagonist. By visualising bureaucratic infinity, *Backrooms* expands horror beyond monsters to the sterile, endless corridors of modern capitalism.Looking Ahead: The Future of Liminal‑Space HorrorParsons’ success suggests a growing appetite for horror that interrogates everyday environments. Expect more studios to mine internet subcultures and architectural theory, blending low‑budget VFX with philosophical storytelling to attract both genre fans and critical audiences.

The Netflix Series Puts Nadal Under the LensThe new four‑part documentary on Rafael Nadal arrives at a pivotal moment, capturing the athlete just before his announced retirement. By granting cameras access to his family, coaches, rivals and medical team, Netflix promises a front‑row seat to the final chapters of a career that reshaped modern tennis.Inside the Four‑Part Chronicle of Nadal’s CareerEach episode walks viewers through distinct phases:2004‑2008: Early breakthroughs, including the surprise Davis Cup win over Andy Roddick and the first Wimbledon final against Roger Federer.2009‑2014: Dominance on clay, the emergence of the “Fever Pitch” rivalry with Novak Djokovic, and the mounting injury toll.2015‑2022: The “Golden Era” of 13 French Open titles, relentless physical conditioning, and the evolution of his on‑court strategy.2023‑2026: The decision to retire, shared only with his inner circle, and the emotional farewell to a sport that defined his life.What the Numbers Reveal About Nadal’s LegacyBeyond the narrative, the statistics underscore his impact:22 Grand Slam singles titles (tied for all‑time record).1000+ match wins on the ATP Tour.13 French Open crowns – the most by any player.36 Masters 1000 titles, second only to Novak Djokovic.Career‑spanning over 2,500 hours of match play, making him “the most perforated player in the history of our sport,” as he jokes.Why the Documentary Redefines Sports StorytellingThe series exemplifies the streaming era’s appetite for exhaustive, personality‑driven content. Its strengths lie in:Unfiltered access to Nadal’s personal life – from playful moments with his son to candid medical examinations.High‑production values that blend archival footage with present‑day interviews.A focus on the physical and psychological toll of elite competition, highlighting the relentless grind behind the glamour.However, critics note a lack of broader perspective; the film stays so close to its subject that it offers limited insight into Nadal’s motivations or the cultural significance of his rivalry with Federer and Djokovic.Future of Athlete Documentaries in the Streaming AgeNetflix’s gamble signals a growing market for deep‑dive athlete biographies. As fans seek “parasocial intimacy,” we can expect:More multi‑episode series that debut alongside or shortly after an athlete’s retirement.Integration of medical and performance analytics to satisfy data‑hungry audiences.Potential collaborations with sports leagues to unlock behind‑the‑scenes content previously deemed off‑limits.For now, the Nadal documentary stands as both a tribute and a cautionary tale: unparalleled access can illuminate a legend’s achievements, but without broader context, the portrait may remain just a shade of the man himself.

Sonny Rollins' Enduring Legacy: 10 Essential Recordings Sonny Rollins, a jazz icon, has left an indelible mark on the music world. With a career spanning over seven decades, Rollins has consistently pushed the boundaries of jazz, showcasing his mastery and innovation. Here are 10 of his greatest recordings: Tenor Madness (released on Craft/OJC, 1956) A 30-year-old Sonny Rollins had already made his unique mark with Miles Davis and Thelonious Monk by the time this 1956 session was cut. Hooking up with his contemporary and admirer John Coltrane happened by chance on the two-tenor blues chase of this album's title. Saxophone Colossus (Prestige, 1957) This writer's first connection with Sonny Rollins' music was occasioned not by music but words: poetic New Yorker writer Whitney Balliett's evocative review of Sonny Rollins' 1957 Saxophone Colossus. Rollins was partnered on this classic set by pianist Tommy Flanagan, bassist Doug Watkins, and bebop-pioneering drummer Max Roach. Way Out West (Contemporary, 1957) When UK jazz musician Courtney Pine was blossoming as a teenage saxophonist in the early 80s, he would recall that Sonny Rollins' 1957 recording Way Out West was a key inspiration. The format was a Rollins favourite in his own early years – the demanding setup of a sax improviser with just bass and drums in support. A Night at the Village Vanguard (Blue Note, 1957) Rollins' live recordings are not as abundant as his genius in open situations deserves, but this music from New York's Village Vanguard makes up a lot of the ground. Freed from the march of chords by the absence of a pianist, he's in storming form in the company of rock-solid bassist Wilbur Ware and soon to be legendary Coltrane drummer Elvin Jones. Freedom Suite (Riverside, 1958) Rollins was never a natural composer – like Miles Davis, he preferred tunes that could be sketched on the back of envelopes. But Freedom Suite was an interesting departure for him, occasioned by the political climate of US race relations and civil rights in the late 1950s. The Bridge (RCA, 1962) Rollins took a creative break between 1959 and 1961, and his return came with The Bridge, named after the eccentric refuge he found: practising alone on New York's Williamsburg Bridge with only passing trains for company. Live at Ronnie Scott's (Gearbox Records; recorded January 1965) Rollins' visits as a solo performer to London's Ronnie Scott's club in the late 50s and early 60s introduced his mesmerising magic to UK audiences, and also helped to galvanise the local scene's confidence at a time when European jazz became increasingly emancipated from the US. Sunny Days, Starry Nights (Milestone, 1984) From the 1980s onwards, Rollins settled into a concert groove that was predictable – by his exacting improvisational standards – and frequently dazzling for audiences new to him. Sunny Days, Starry Nights showcased him with partners who would regularly join him on stage for the rest of his life. This Is What I Do (Milestone, 2000) The best and most affectionately closeup manifestation of Sonny Rollins' genius as he hit his 70s. The saxophonist's later-life partners are present, and so is one of contemporary jazz's greatest drums pioneers in Jack DeJohnette. Without a Song: The 9/11 Concert (Milestone; recorded 2001) Sonny Rollins and his wife, Lucille, lived close to the World Trade Center, witnessed the buildings' collapse on 9/11, and had to evacuate their apartment shortly afterwards. Four days later, the saxophonist performed and recorded this evocative session with his regular sidemen at the Berklee School of Music in Boston.

The Tragic Consequences of the Exam Leak In the Jhunjhunu district of India's western Rajasthan state, Rajesh Kumar sat staring at a chemistry book in his tin-roofed shed, once mastered by his son Pradeep. Pradeep, 21, had spent years preparing for the NEET, one of the world's largest medical entrance examinations, but took his own life after the exam was cancelled due to a paper leak. The Exam Details and the Leak Nearly 2.3 million test-takers across India and at examination centers in Doha, Dubai, Singapore, and Kathmandu appeared for the NEET on May 3. However, allegations of a paper leak flooded social media, and the Indian government announced on May 12 that the examination had been voided, and another test would be held later. Four students who appeared for the exam died by suicide. Pradeep had scored more than 650 marks, enough to secure a seat in a government medical college. The Data Analysis The National Testing Agency (NTA), which conducts most of India's major central entrance examinations, including the NEET, has remained under scrutiny in recent years over repeated allegations of irregularities and paper leaks. The NTA operates with limited resources, including just 22 employees on deputation, 38 contractual staff members, and 138 outsourced workers. Experts say the agency has been stretched beyond its capacity and is struggling with limited resources. The Impact Analysis The paper leak controversy has deeply shaken students and severely affected their morale. Many are left in shock and struggling to regain focus. Students and their families are demanding justice and reforms. States ruled by governments in opposition to Prime Minister Narendra Modi's Bharatiya Janata Party have urged the federal government to abolish NEET and allow states to conduct their own medical admission processes. The Prediction The upcoming NEET examination, now scheduled for June 21, will be conducted with stronger security measures and greater transparency. However, students and their families remain skeptical about the system's ability to prevent future leaks and irregularities.

The Upset at Roland Garros Jannik Sinner, the No 1 men’s tennis player in the world, was still leading by two sets and serving for a place in the third round of the French Open when it became clear he was in significant danger on the baking clay in Paris on Thursday afternoon. He was undone in the second round of the only Grand Slam he has yet to win, not by the ingenuity of his opponent or even the immense pressure that comes with being the prohibitive favourite, but rather by his own body. The Impact of Extreme Heat The Italian – who had not lost a match since February – said afterward that he had been struggling with an illness. Despite waving away suggestions he had wilted in the high temperatures, the unprecedented heat wave in the first week of the French Open this year could not have helped his cause. He fell 3-6, 2-6, 7-5, 6-1, 6-1 to Juan Manuel Cerúndolo before a stunned, packed audience on Court Philippe-Chatrier. Player Reactions to the Heat His defeat represents one of the most shocking results in recent years. The 24-year-old had entered the court on a 30-match winning streak and earlier this month he became the only man other than Rafael Nadal, the greatest clay court player in history, to win all three clay court ATP Masters 1000 titles in the buildup to the French Open. Most players are used to disruptive weather at Roland Garros coming in the form of rain delays and damp courts, but this year in Paris the heat has changed the state of play and divided the locker room over its intensity. The Tournament's Heat Rules The temperature has consistently ranged between 32 and 35C most afternoons so far. Such conditions are so rare in the second Grand Slam of the year that there was significant confusion about the tournament’s heat rules at the start of the week. When asked about them on Wednesday, Novak Djokovic incorrectly thought that they did not exist: “I really don’t understand why they don’t have the heat rule,” he said. “I actually didn’t know. I thought that there is in every slam, but then someone told me that Roland Garros has no heat rule.” Adapting to the Conditions The actual rules are based around the tournament organisers using wet bulb sensors to monitor the temperature, and a match could be suspended when it crosses 32.2C. To date, however, no match has ever been suspended at Roland Garros due to the heat. The scorching temperatures also make a significant difference to the way matches are played on clay. Wet, damp and colder conditions make balls heavier, leading to longer rallies and a lower bounce, the hot weather hardens the court and allow the ball to fly more quickly.

A Surrealist Masterpiece Emerges from the Depths of Psychiatric ConfinementA recently discovered painting by the surrealist artist Leonora Carrington, made during her confinement in a Spanish psychiatric hospital during the second world war, will go on public display for the first time in London this summer. Known as Villa Pilar, the work was painted in 1940 while Carrington was a patient at sanatorium Morales in Santander, after fleeing Nazi-occupied France following the arrest of her partner, the German artist Max Ernst.The Unveiling of a Hidden Masterpiece from a Turbulent PeriodCarrington suffered a psychological breakdown in Madrid and was admitted to the institution, where she underwent traumatic psychiatric treatments that she later described in her memoir Down Below. But encouraged by her psychiatrist, Dr Luis Morales, Carrington sketched each day, and created two paintings, Down Below and Villa Pilar, which depict the psychiatric hospital as a symbolic underworld. Carrington described her "down below" period as an experience akin to "being dead."A Life Marked by Rebellion and Artistic InnovationBorn into a wealthy Lancashire family in 1917, Carrington rebelled early against the expectations placed on upper-class women. She studied at the Chelsea School of Art before meeting Ernst at a dinner party in London in 1937, when she was 20 and he was 46. The two began a relationship that scandalised their respective social circles and moved together to Saint-Martin-d'Ardèche in the south of France, where they lived and worked until the German invasion.She found kindred artistic spirits in renowned surrealists like André Breton, Salvador Dalí, and Man Ray, who, like her, were fascinated by dreams, the subconscious and the occult. When she eventually settled in Mexico in the 1940s, she became one of the country's most celebrated artists and part of an influential community of women creatives working outside the male-dominated European surrealist movement – alongside figures including the Spanish painter Remedios Varo and the photographer Kati Horna.Carrington was later embraced as a feminist icon, and she always resisted attempts to reduce her to her gender, once remarking: "I didn't have time to be anyone's muse ... I was too busy rebelling against my family and learning to be an artist." She died in Mexico City in 2011, aged 94.The Rediscovery and Symbolic Meaning of Villa PilarCarrington gave Villa Pilar to Dr Morales when she left the sanatorium, and it remained in his family for decades. It was only rediscovered during research for the exhibition by the Faro Santander team, who persuaded the Morales family to loan it publicly for the first time.Vanessa Boni, curator of the exhibition, said Carrington created the work as "a parting gift" to thank Morales for helping her recovery, despite the "brutal" treatments she endured, including cardiazol injections. "As we know from her memoir, it was really traumatic," she said. "Dr Morales kept the painting his entire life, and when he passed away, it was handed down to his daughter."The work depicts the hospital as being populated by hybrid human-animal figures moving through vivid green gardens – imagery that would become central to Carrington's later practice. "It speaks to ideas of inner transformation, metamorphosis and otherness," Boni said. "Both paintings are set in a verdant green landscape, including a green sky, which was a symbolic colour for her."A Transatlantic Exhibition JourneyVilla Pilar will join the exhibition Leonora Carrington – the Symptomatic Surreal at the Freud museum, where Sigmund Freud spent the final year of his life after escaping Nazi-occupied Vienna. To mark the unveiling, the exhibition has been extended until 10 August before travelling to Faro Santander, a new arts centre in the northern Spanish city, in September.Daniel Vega Pérez de Arlucea, director of Faro Santander, said: "This is not simply a matter of showcasing the work of one of the most important surrealist artists, but of recognising and revisiting a chapter of her life deeply rooted in this city."After leaving Santander, Carrington travelled through Lisbon and New York before settling in Mexico, where she became one of the leading figures of surrealism. In 2024, one of her paintings was auctioned for £22.5m, a record for a UK-born female artist.While in New York, Carrington gave her Santander sketchbooks to the surrealist collector Julien Levy, whose collection was sold at auction and dispersed into private collections in 2004. This exhibition marks the first attempts since then to bring the contents together for a major public display.