Tim Jackson
Hidden among the screenings at this year’s Reelabilities: Boston Disabilities Film Festival are two strong tales of individuals overcoming incredible odds.
Is “Her” exploring truths about romance and emotional need? Or is this a creepy look into how far we’ve surrendered to the infantilizing embrace of technology?
For many boomers, the film will be a joyous invitation to wallow in déjà vu. For younger generations, it will shine a light on a time when musicians really thought music could change the world.
Despite the influence and the respect Doc Pomus still has in the music community, his name is not as well known to the public as that of some of his contemporaries.
“It’s easier to make a movie now but it’s harder to get it distributed in a way that people will see it.”
Director/producers Andrew Cohn and Davy Rothbart have constructed a film that ties the desperation of Medora’s shrinking ambitions to the struggle of its scrappy team to win a single game that could suggest a small hope for the future.
In the mesmerizing “The Last White Knight,” documentary filmmaker Paul Saltzman chronicles a five-year dialogue with the man who assaulted him during the civil rights movement.
Cormac McCarthy’s rambling but brilliant screenplay is given vigorous direction by Ridley Scott, whose elegant visual style captures the tense downward spiral of the film’s doomed characters.
With 12 YEARS A SLAVE, Steve McQueen, the brilliant British director of HUNGER and SHAME, has probably created the first masterpiece of the new black cinema.
Teaming up allows Bridge Rep, as a new company, to do a much, much bigger show than we might ordinarily be able to do: we can offer our audiences a large ensemble piece like The Libertine, which would be beyond our reach otherwise.
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