Elegant, provocative and intellectually dressed to kill, Role Play reminds us that fashion reaches its highest form not when it sells clothes, but when it quietly dismantles certainty. The garments may change. The performance never ends.
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In an age of second screens and algorithmic feeds, London-based critic, broadcaster and cultural curator Ashanti Omkar argues that the real crisis facing cinema is not access, but attention. Audiences have never had more films and series at their fingertips, yet the patience required to experience them fully is under pressure. Drawing on her work across BAFTA juries, festival stages and interviews with actors and filmmakers, Omkar makes the case for curiosity, deep listening and the human encounters that streaming platforms cannot replicate. In a city that remains both a major global media market and a home to enduring cultural institutions, she explores why British film culture — with its tradition of rigorous criticism, public-service values and live festival conversations — still offers a distinctive counterweight to the increasingly fragmented attention economy.
Frieze London 2026 has grown tired of the art world’s favourite slogans.
After years of panels on “resilience,” “impact” and “connection,” the fair returns to Regent’s Park with a quieter, more demanding proposition. At its centre sits Theo Triantafyllidis’s climbable spider sculpture — a multiplayer game in which the only way to succeed is to cooperate with strangers. In a market that has become expert at absorbing the appearance of radicalism, this edition asks whether a major commercial fair can still generate real friction. The language of culture has collapsed into polite noise. For five days in October, Frieze tests whether anyone is ready to notice.
What if you’ve been watching films all wrong?
In an era defined by endless scrolling and fractured attention, film critic and broadcaster Ashanti Omkar poses a disquieting question: what do we lose when we no longer truly watch?
In this DT500 MAG LONDON DISPATCH conversation, she reframes cinema as more than entertainment — as a form of philosophy, empathy, and heightened perception. From the enduring cultural impact of *The Matrix* to the evolving role of film festivals, criticism, and global storytelling, Omkar explores how cinema continues to shape the way we understand ourselves and the world around us.
At its heart, this is a reflection on attention itself — and on why the most powerful films still ask for something increasingly rare: the willingness to slow down, and really see.
🎙️ NEW Podcast Episode: Identity and Ambiguity in British Film
Recorded during Raindance Film Festival in Soho, this episode examines a strand of contemporary British and international cinema preoccupied with instability—of form, of history, and of identity itself.
From films that fracture and re-edit historical memory to documentaries that refuse the demand for clean categorisation, the conversation moves through questions of authorship, visibility, and interpretation. What does it mean when cinema stops explaining the world and starts exposing how it was assembled in the first place?
Across works including WHITENESS, Laundreams, and Let Us Be, the discussion traces a shared refusal: to stabilise meaning, to simplify identity, or to resolve ambiguity into comfort. Instead, these films linger in friction—between archive and fiction, belonging and misrecognition, visibility and understanding.
At its centre is a larger question: not just what cinema shows us, but what it quietly asks us to accept about how reality is constructed at all.
🎙️ NEW PODCAST: In this episode, we step into the shifting terrain of Intersex Visibility and Ambiguity — where identity is not a headline, but a lived reality shaped by medicine, culture, and silence. Through voices from Let Us Be, we explore what it means to exist beyond rigid categories, and why visibility alone is no longer enough. This is a conversation about bodies, belonging, and the uncomfortable power of not fitting neatly into definition.
NO, IT IS NOT; NOT, ALWAYS examines the quiet collapse of documentary photography’s authority.
Working through DT500 Magazine, Arthur Sopin and Andreas Rød reject the fantasy of the neutral observer. Their images occupy the uncomfortable ground between intimacy and performance, consent and construction, proximity and fatigue.
In a culture that has perfected attention without understanding, the exhibition proposes something unfashionable: sustained looking — the kind that lingers long enough to become uncomfortable.
Arthur Sopin & Andreas Rod’s No, It Is Not; Not Always (DT500mag, London) is a sharp post-conceptual rupture disguised as an exhibition — where portraiture, performance, and moving image collapse into controlled instability. Born from a 150+ artist open call, it reframes eccentricity as structure, not exception, and turns identity into a flickering system rather than a fixed subject. Positioned between Venice Biennale discourse and post-internet fatigue, it doesn’t explain the contemporary condition — it destabilises it, elegantly and without apology.
A modest Norwegian upbringing, a Bowie-sized ambition, and a refusal to separate music from fashion, image from sound, or idea from execution. Under the name Suprastate, Thomas builds a self-contained creative system where noise, tailoring, and pop instinct collide into one continuous aesthetic engine. At a moment when culture is drowning in unfinished ideas, he insists on the opposite: everything must be made, fully, or not at all.
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