Peter Keough
Like the novel it is based on, “Eileen” eventually becomes a morally ambiguous, and twisted, noirish mystery.
How well “The Wizard of the Kremlin” will be received here is an interesting question, especially when the novel is evaluated in the light of Mstyslav Chernov’s visceral documentary “20 Days in Mariupol.”
As these two films at the Wicked Queer Doc Fest indicate, being non-hetero-normative in a patriarchal society is unavoidably a political statement.
A pair of documentaries featured in this year’s Arlington International Film Festival take a cold look at the death cult of fascism — past, present, and to come.
In a time of outrage and grief, a trio of documentaries at the BJFF serve as a reminder of the traditional Jewish values of compassion and inclusion, reaffirming the power of activism, art, and simple acts of human kindness.
“Killers of the Flower Moon” is an exercise in kaleidoscopic, cubist storytelling that is, among other things, an epic on the art of the grift.
Cinema at its best is a a place where seemingly irresolvable conflicts can find, if not resolution, then some common ground.
Werner Herzog likes the odds in “Every Man for Himself and God Against All.”
Less is more in Wes Anderson’s adaptation of Roald Dahl’s “The Wonderful Story of Henry Sugar”.
What happens when, through unwillingness or incapacity, memory is lost or forsaken? Two documentaries at the CineFest Latino Boston explore some answers.
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