Peter Keough
As these two films at the Wicked Queer Doc Fest indicate, being non-hetero-normative in a patriarchal society is unavoidably a political statement.
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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.
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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.
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“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.
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Cinema at its best is a a place where seemingly irresolvable conflicts can find, if not resolution, then some common ground.
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Werner Herzog likes the odds in “Every Man for Himself and God Against All.”
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Less is more in Wes Anderson’s adaptation of Roald Dahl’s “The Wonderful Story of Henry Sugar”.
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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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The vicious, virtual, voyeuristic, and vicarious are on view at this year’s Camden International Film Festival.
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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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