Tim Jackson
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.
Jim Jarmusch’s films resist cliches and conventional dramatic formulas — understatement is the rule.
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