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theguardian.com

@theguardian Sun, 14 Jun 2026 13:00:46

Ebola one month on: will the latest outbreak in DRC become the most deadly yet?

With more than 670 confirmed cases and over 135 deaths, the disease has yet to be contained amid funding shortfalls, fear and disinformationWhen an orphanage in Bunia took in a newborn baby after his mother died from Ebola, the nuns who ran it hoped they were giving the infant a chance for life. The baby survived for only another two weeks. Now four of the nuns who cared for him have fallen sick with the deadly virus.It is a snapshot of the tragedies at the centre of an outbreak in which the number of victims is roughly doubling every week, according to the World Health Organization (WHO). 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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