Tim Jackson
The Dardenne brothers’ latest film transforms a series of fragile stories about teenage motherhood into an unsentimental, deeply compassionate study of resilience.
At this year’s festival, films by Greg Araki and others explore erotic power, artistic identity, and spiritual unease—alongside a quietly inspiring portrait of painter Anne Packard.
Claudia Verhoeven’s “Love and Terror” reframes the Manson murders as a cultural narrative shaped by spectacle, ideology, and America’s enduring fascination with charismatic deception.
“The Maids” uses video and fantasy with purpose, while “Kenrex” turns a grim murder story into empty showmanship.
Fatih Akin’s “Amrum” traces a boy’s quiet moral awakening as Nazi Germany falls, blending lyrical imagery with unsettling historical clarity
Reviews of a pair of documentaries and arts-themed shorts at the IFFBoston.
The hefty volume is consistently engaging and informative — a lively, visually appealing guide to one of cinema’s most formidable careers.
The film’s intellectual friskiness is everywhere, and at times it takes centerstage at the expense of the story.
“Sirāt” is a heart-stopping, surreal reflection of our contemporary moment.
Backbeats is a detailed and informative story. Each profile functions as an entry point into a selective but substantial survey of roughly seventy-five years of rock history.
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