Peter Keough
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.
Three gruesome films by debut directors put the horror back in vacui.
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.
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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