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�鶹��ý Weekly hosted a screening in Perth of the film Kurdistan: Women at War on March 9 to celebrate International Women’s Day. The film, directed by Mylene Sauloy, follows the historical development of the Women’s Protection Units (YPJ) and other similar groups defending and transforming their communities across Northern Syria.

Before touching down on the planet of Canto Bight, Rose looks down forebodingly to tell us that it’s full of the “worst people in the galaxy”. Cut to champagne glasses clinking and a casino full of galactic 1-percenters.

“Only one business in the galaxy can get you this rich,” Rose — a new character in Star Wars: The Last Jedi, a mechanic on the Rebel flagship — explains to returning hero Finn as they look around the beachfront resort planet, “selling weapons to the First Order.” She goes on to tell her family’s history: forced to work on a First Order mining colony before it was bled out and blitzed for weapons testing.

Margaret Atwood is blessed and/or cursed with the credit for this year’s go-to feminist analogy. Any time an old white man makes it clear that women are best kept silent and pregnant, someone says that it’s “just like The Handmaid’s Tale”.

The Sydney Latin American Film Festival (SLAFF) is on again for the 12th year running. Featuring a specially curated program of captivating contemporary Latin American cinema, the festival has several films that progressive filmgoers won’t want to miss.

An important feature of this year’s program is that 50% of the films feature female directors, festival programmer Lidia Luna said.

In June 1940, Winston Churchill described the German rout of the French, Belgian and British armies and the seaborne evacuation of 338,000 troops from Dunkirk in northern France as a “colossal military disaster”.

For a nation whose national identity is intimately bound up with victory and conquest, it is paradoxical that the retreat from Dunkirk has become such an important part of British mythology.