David D'Arcy
At New York’s Art Students League, Robert Cenedella’s grotesque group portrait turns the MAGA elite into a gathering of horned grotesques.
At TIFF, Barbara Kopple follows exploited delivery workers, William Greaves revives the Harlem Renaissance, and Iranian filmmakers find private lives shadowed by surveillance, war, and repression, yet also beautified in some cases.
Three Toronto premieres — John Trengove’s “The Smell of Apples,” Avi Nesher’s “Our Loves,” and Pedro Almodóvar’s “Bitter Christmas” — locate private lives within political violence, historical memory, and the seductive artifices of storytelling.
From Matthew Rankin’s delirious Brian Mulroney spectacle to Ashley Duong’s intimate family history, TIFF’s Canadian slate offered films unlikely to draw attention anywhere else.
In Provincetown, the artist discusses the perceptual tricks, sly wit, and classical echoes behind his luminous figure drawings and and works on terra cotta.
A rare, must-see gathering of Paul Klee’s satirical and prophetic drawings reveals how his angels, dictators, and “degenerate” visions saw Nazi Germany all too clearly.
At the Tribeca Film Festival, two dramas stood out among the narrative films—stark, street-level tales of addiction and a wintry queer love story turned murder mystery set on a Canadian ship.
The Tribeca Film Festival is usually best represented by its outliers. This year, a few films earned that status.
The Berlin International Film Festival had two major premieres this year — a vampire parade and a war saga in Ethiopia.
This year’s Berlin International Film Festival was nothing if not political.
Recent Comments