Peter Keough
The vicious, virtual, voyeuristic, and vicarious are on view at this year’s Camden International Film Festival.
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Though the images are half a century old, the chaos, treachery, and courage recorded bear a chilling relevance to circumstances today in our country and in democracies around the world as right-wing efforts to overturn democratically elected governments proliferate.
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In the end, what strikes me most about “Vertigo” is its melancholy, its aura of grief, its mood of inevitable, irredeemable loss.
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Three gruesome films by debut directors put the horror back in vacui.
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Preoccupied with the little melodramas of their lives and their careers in the arts, the characters in”Afire” put off acknowledging the gathering disaster that might end up at their doorstep.
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This shaggy dog story, set in the bowels of Manhattan, in the yet to be gentrified bohemian enclave of SoHo, presented an opportunity for Martin Scorsese to return to bare-bones filmmaking.
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The greatest enigma “Oppenheimer” poses is recognizing the difference between good and evil and how to act accordingly.
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“Lynch/Oz” roams from The Yellow Brick Road to “Mulholland Drive”.
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Every Body complicates and clarifies the gender debate.
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Arts Commentary: Chile’s 9/11 — the Undying and the Undead
Two Chilean artists look at the death of democracy and the aftermath of the 1973 coup.
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