As always, the documentaries at the Tribeca Film Festival were where you found the best films. Here are four I would recommend.
Panah Panahi’s film is a powerful ode to the will to escape a restrictive society — and to tell stories.
The variety of these photos give us more than just a sense of what Arbus would be doing for the last decade of her life.
“A photograph is a secret about a secret. The more it tells you, the less you know,” Diane Arbus said. Her biographer notes that observation. Hard as he tries, many secrets remain.
As with so many Frederick Wiseman films, we get color, character, sociology – and cinema.
Gagosian Gallery’s show Picasso & the Camera is the art bargain of the season.
Tadao Ando’s new Clark, minimalist in its materials and understated presence, is more Zen than a billboard for its disparate architectural elements, more harmony than postmodern dissonance.
By the end of the documentary, you’re in no doubt that Whitey Bulger was beneath dignity. Though not in his own eyes. There’s even vanity left in a crook who trims his white beard so scrupulously.
Futurism, as the Italian proponents conceived of it, ended up not having much of a future. But its practitioners had some good days at the beginning.
Art Spiegelman believes that “MAD” magazine was more subversive for his generation of protesters than either marijuana or LSD. It certainly radicalized him.