David D'Arcy
Three films that stood out at this year’s annual festival at the Museum of Modern Art and Film at Lincoln Center.
In Berlin, the closest thing to a consensus on “Kontinental ’25” was that the film didn’t measure up to Romanian director Radu Jude’s customary standards. My view is that the critics didn’t look hard enough.
A review of two fine backstage (or offstage) comedies at the Berlinale — “Blue Moon” and “Koln 75”.
Two heartfelt documentaries about the Hamas attack and hostage-taking have premiered at this year’s Berlinale and have been received respectfully, even welcomed.
Films can transform the way that their subjects are seen, sometimes by just making a subject visible. That was the case with three films which were among the best that I saw at Sundance this year.
A trio of documentaries: one explores an under-recognized Black musician, while the other two focus on a leftist Israeli comedian and crusading teen journalists.
My guess is that if Sundance survives, it won’t look like the Sundance we know.
Interviews with a pillager – “Plunderer” examines Nazi art theft at DOC NYC; two other docs remember Artsakh, a country that is no more
In this illuminating show you’ll recognize the state that (for now) is home to Donald Trump and was the habitat for Jeffrey Epstein and a wide range of other dangerous creatures.
A reviews of a trio of standout films at this year’s New York Film Festival: Mati Diop’s “Dahomey”, Marta Mateus’ “Fogo do Vento”, and Jem Cohen’s “Little, Big, and Far”.
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