Peter Keough
A stylish but troubling portrait that soft-pedals power, propaganda, and Vladimir Putin.
A brisk, galvanizing portrait of “Democracy Now!”‘s Amy Goodman and the stubborn fight for adversarial journalism.
The spirit of Frederick Wiseman lives on at the IFFBoston.
A retrospective of four films by those two Hungarian artists unfolds as a monochromatic monolith of mud, misery, human folly, and inexorable corruption.
Claude Lanzmann’s haunted pursuit of testimony and Henrietta Szold’s humanitarian legacy illuminate the enduring power of courage and conscience.
A pair of eminent lives — celebrated.
The narrative is filled with secrets and mysteries that tease and fade away — and the deepest mysteries lie within that basic social unit, the family.
The world almost makes sense at this year’s Salem Film Fest.
The documentary tries, perhaps a bit too hard, to turn the Grim Reaper into the Grin Reaper.
Stage Commentary: Where’s the Fire? Boston Theater’s Cautious Return to Relevance