Peter Keough
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.
The vicious, virtual, voyeuristic, and vicarious are on view at this year’s Camden International Film Festival.
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.
In the end, what strikes me most about “Vertigo” is its melancholy, its aura of grief, its mood of inevitable, irredeemable loss.
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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