Gerry Brakus

A review of the Rijksmuseum retrospective “Ed van der Elsken: Up Close” portrays the Dutch photographer as a champion of unconventional lives and artistic freedom. It traces his development from sculpture and Magnum’s darkroom to Love on the Left Bank, his international work and intimate documentation of Amsterdam, while emphasizing his blending of documentary, fiction, autobiography and design. The exhibition also reveals the tension between his cultivated image as a fearless outsider and his underlying vulnerability, commercial commissions and depression. His late film Bye, made after an incurable cancer diagnosis, extends his commitment to unsparing self-documentation, while his influence is linked to photographers such as Nan Goldin.

A reflective review of the National Portrait Gallery’s exhibition “Marilyn Monroe: A Portrait”, which brings together more than 200 photographs, artworks, publicity materials and personal objects. The exhibition traces Monroe’s transformation from Norma Jeane into a continually reinvented cultural image, presenting conflicting interpretations without imposing a single one. Early photographs by André de Dienes and exuberant images by Philippe Halsman receive particular attention, while the review acknowledges that the enduring appeal of Monroe’s beauty often precedes deeper attempts to understand her life and identity.

A warm, highly favorable review of Liza Minnelli’s memoir, portraying it as a lively, glamorous and candid account of a life shaped by performance, family trauma, addiction, complicated marriages and profound loss. The review emphasizes Minnelli’s loving but unsentimental account of Judy Garland, her defining performance as Sally Bowles in Bob Fosse’s Cabaret, repeated struggles with addiction and eventual sobriety. Despite considerable hardship, Minnelli avoids self-pity, relying instead on humor, theatricality, resilience and the sustaining support of friends and family.

A personal review of the BBC documentary Hostage revisits the author's 2012 meeting with photojournalist John Cantlie before he travelled to Syria. Cantlie is portrayed as unusually drawn to danger, embodying the bravado associated with conflict photography just as journalists were increasingly becoming targets in Syria and across the Middle East. After being kidnapped with James Foley, Cantlie was exploited in Islamic State propaganda videos, while his ultimate fate remained unconfirmed. Accounts from fellow hostage Daniel Rye suggest that his earlier swagger gave way to endurance and support for other captives. The documentary leaves unresolved whether Cantlie had any agency in the propaganda videos, and the reviewer concludes that his personality and resilience are more striking than the quality of his photography.

Robert Duvall’s career is praised for its restraint, precision and emotional gravity. His performances in films including Apocalypse Now, The Godfather, Tender Mercies and The Apostle are presented as examples of an actor who conveyed authority, moral ambiguity and lived experience without flamboyance. Tracing his path from theatre training and supporting roles to major awards and later-career performances, the piece concludes that Duvall’s consistency and composure made him an exemplary figure in American cinema.

Brigitte Bardot is presented as a transformative cultural figure whose unapologetic sexuality and self-possession expanded ideas of femininity, even without an organised feminist politics. The piece also examines her rejection of conventional motherhood, her withdrawal from acting, and her later commitment to animal welfare through the Brigitte Bardot Foundation. It sharply condemns her repeated racist and Islamophobic statements and court convictions, arguing that her cultural influence and force of personality can be recognised without excusing her views or seeking to redeem her legacy.

A personal selection of twelve outstanding photobooks published in 2025 praises works that explore family, memory, identity, education, nature, place and the possibilities of photographic form. The books are commended for their emotional tenderness, conceptual originality, craftsmanship and ability to reward repeated viewing, with several addressing addiction, dementia, family life and the disruption of conventional photographic perspective.

Rob Reiner is remembered through the qualities that define his films: attentive observation, restraint, generosity and an understanding of human contradiction. The appreciation highlights When Harry Met Sally, This Is Spinal Tap, Stand by Me, Misery and The Princess Bride, arguing that their lasting power comes from allowing conversations, relationships and humor to unfold without excessive explanation or cynicism. In the wake of Reiner’s death, returning to his work offers a slower, more open-ended way to understand his artistic legacy.