Arts Fuse Editor
The Boy in the Field is the latest novel from Margot Livesey, a prolific writer with a keen eye for the interiority of her characters, a skill that enriches her novels with a rare intimacy and immediacy.
While there’s plenty of wistful romance and character-driven conflict to keep Summerland rolling along, the narrative isn’t exactly plausible.
Filmmaker Oliver Stone’s memoir is an exhilarating primer for anyone who wants to understand his reputation as a writer and director.
Grétry’s Raoul Barbe-Bleue — the story of the original lady-killer, Bluebeard — receives its world premiere recording and it’s splendid.
In no way a ‘tale told by an idiot, signifying nothing’, Pew is instead a kind of reverie, a wide-eyed spin on the Southern novel.
The documentary is about “the power of the community and how rock and roll, and music in general, is worth fighting for: sometimes that means doing it yourself.”
It gradually became clear to me by the mid-’80s that Alan Parker films were, more than those of any other filmmaker, an integral part of my identity as a film lover.
She Dies Tomorrow marries the avant-garde with slice of life, jumping from death throes to conversations about dolphin sex over full glasses of red wine.
Is it any wonder? An opera that angered Louis XIV in 1677 brings enormous pleasure in 2020.
Visual Arts Commentary: The Bridge of Flowers, Shelburne Falls, Massachusetts
An appreciation of a footbridge that intertwines nature with our humanity.
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