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theguardian.com

@theguardian Thu, 04 Jun 2026 08:00:29

The race to combat Ebola: what vaccines and treatments are being developed and how long will it take?

With the Bundibugyo strain of the disease spreading across the DRC and Uganda, scientists and researchers are trying to find rapid solutionsThere is no vaccine or treatment available for the Bundibugyo strain of Ebola that is spreading in the Democratic Republic of the Congo (DRC) and Uganda, but this week three vaccine developers were awarded $60m (£45m) in emergency funding as the race to halt the outbreak ramps up.Security issues in the affected region of the DRC, where conflict has displaced tens of thousands, have made it challenging to set up trials to test drugs. Militias operate in the area and some Ebola treatment centres have been attacked. Continue reading...

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theguardian.com

@theguardian Sun, 04 Oct 2026 07:04:58

Wakaliga Uganda review – a blistering superhero movie with hardboiled cops and a nefarious 'girl with a voluminous bum'

Chisenhale Gallery, LondonA young man possessed by the spirit of a mythical Buganda warrior leads the film-making collective's explosive new diatribe against the theft of cultural artefacts – with the help of a 'video joker' Wakaliga Uganda makes action movies with a cast from the Kampala streets, props built out of scrap, desktop special effects and a bucketload of wit. The studio's breakout hit, Who Killed Captain Alex?, followed a martial arts master on a mission for revenge against the mafiosi who killed his brother, a Ugandan military officer sent to clean up the capital's slums. Featuring helicopter gunships, shootouts and kung fu showdowns, and reportedly made for a few hundred dollars, this blockbuster bears little relation to the films you might expect to find in an art gallery (setting aside the shoestring budgets). Which is to say, it is very good fun to watch.Founded by Harriet Nakasujja and Isaac Nabwana, the film studio also known as Wakaliwood came to the attention of the wider art world in 2017 when it was included in the German art festival Documenta. That influential show was part of a general turn towards the culture being made by independent collectives outside Europe and North America, especially those that pioneer unconventional ways to fund their activities (indicatively, the studio used the money to install fibre-optic cables in its neighbourhood). Its entry on to the international art circuit brought higher production value and – if the new commission now showing at the Chisenhale is any guide – a subtle shift in direction and purpose. Continue reading...

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