Peter Keough
The power of cinema persists at the Boston Festival of Films from Iran.
Like all accomplished directors – and architects – Brady Corbet has orchestrated a team of outstanding collaborators into shaping his vision.
It seems every year the quality of feature films, especially those from mainstream studios, is getting worse, while that of documentaries is getting better.
The film is a testament not just to the resilience and courage of Ukrainians in the face of brutal aggression and the threat of genocide but to the power of art to transcend tragedy and injustice.
Director David Charles Rodrigues incorporates this wealth of material, a superflux of images generated by Genesis P-Orridge and the various artistic enterprises s/he founded, with concision and insight. The life and work of his subject is chronicled over the course of a lucid and kaleidoscopic 100 minutes.
Documentaries on George Michael, Janis Ian, and Jackie Shane look at musicians who grappled with the fear and consequences of expressing their true identities.
In director Steve McQueen’s “Blitz”, chaos can be a scary but exciting adventure, as tragedy and trauma mingle with the magic of a fairy tale.
Memory – elusive and essential, tormenting and inescapable – serves as a theme for several of the documentaries in this year’s BJFF.
To his credit, Mark Cousins does provide some insights into Alfred Hitchcock’s motifs and obsessions, from doors to staircases to creepy, dank interiors crammed with gizmos, gewgaws, and cobwebs.
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