As part of Refugee Week, HOME and Community Arts North West (CAN) have collaborated to present Horizons Festival, a full programme celebrating global arts and culture.

The debut feature-length documentary from Libyan/British director Naziha Arebi is a beautifully shot and incredibly moving portrait of a country torn apart by war, and everyone should see it.

MM spoke with Jim Cummings prior to a preview screening at HOME, Manchester.

In light of the first co-production between the National Theatre of Scotland and HOME, we talked to Jackie Kay about her memoir, its stage debut and how much she loves Manchester.

When Fereshteh Mozaffari Vanani​ attended a national conference on cultural diversity, she was shocked to be the only black person in a room of 200 attendees. So last May she founded Sheba Arts, a Manchester-based collective tackling this problematic representation of migrant communities in the arts.

Internationally celebrated choreographer Hofesh Shechter and his company displayed a striking piece of apocalyptic dance performance on Wednesday evening at HOME.

As part of the year-long programme Celebrating Women in Global Cinema, HOME ran a season this May focusing on women’s activism and involvement in trade unionism: Women, Organise!

There is not a whiff of the outdated mental health stereotypes within leagues of Josephine Decker’s Madeline’s Madeline: a powerful and uniquely illustrative portrait of a 16-year-old living with mental health concerns that’s finally arrived in UK theatres and showing at HOME.

The 1992 movie ‘Death Becomes Her’, starring Meryl Streep, Bruce Willis and Goldie Hawn, has been long-regarded as a queer classic but a drag parody of the film at HOME turned the well-loved flick into an even camper affair – and we couldn’t get enough.

It has to be said, it’s been a great few months for women on screen since THAT Game of Thrones episode, Fleabag, Derry Girls, Killing Eve, Back to Life – if you’ve not seen it, add it to the list.

Spider-like and wretched, Tom Mothersdale’s Richard III practically crawls across the stage. Every body movement signals his grotesque nature.