David D'Arcy
The 2024 Tribeca Film Festival was predictably celebrity-heavy and substance-light. Yet between the cracks, there were things well worth seeing.
It is hard to think of a moment in the last 100 years when Käthe Kollwitz’s work has been more timely.
“Parade”‘s power does not lie in its mystery or its revelations of combat. The work, as artist Si Lewen lays it out, surveys the absurd pomp and horror of war.
This is a tense morality play, with twists odd enough (and a palette dark enough) to sustain a noir-inflected thriller of almost two hours.
Watch “Five Broken Cameras” as “No Other Land” finds its way to festivals beyond Berlin. By then, the forced displacement of people in the West Bank will look gentle compared to the relentless siege of Gaza.
A Mexican director sets a British play in a Times Square restaurant and patients talk to their psychiatrists in Paris.
New cinematic mavericks have come along. All the more reason that the views of earlier rebels be collected and preserved, given the short historical memories of young filmmakers and their audiences.
At this year’s Sundance Film Festival, in the midst of the usual well-meaning social documentaries and “independent” celebrity tributes, some real cinematic ambition crept in.
Among the memorable films at Sundance 2024, a trio of music films led the way.
The disconnect between the Amsterdam of the past that is revisited and the scenes of life in the city today dramatize the fragility of memory and its erosion.
The Annual Francis Davis Jazz Critics Poll at Mid-Year: Warming Up a Riff — How It Happened, and Why It Matters