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With my customary determination and pluck, I’ve been able to get access to plenty of films at the London Film Fest that cover a broad spectrum of genres, budgets, and nations.
This was an epic performance of an epic piece, steeped in Brucknerian character.
This is the voice of a wife, mother, sister, daughter, friend, patient, and author who wrote a memoir on her own terms. I can’t wait for Sarah Ruhl’s next play.
Guitarist Mary Halvorson and pianist Sylvie Courvoisier share a remarkable rapport on this duet album.
Reviews of Todd Haynes’s documentary The Velvet Underground, Bruno Dumont’s France, a satire-drama about the news industry, and Nature, Artavazd Peleshian’s graceful parade of natural disasters.
Jim Marshall fought off all sorts of personal demons while also managing to be in the right place at the right time to get some iconic music photos.
The quilts serve as landmarks whose significance is evolving with shifting times and demographics. Where have we come from, they ask. Where are we going? The answers are no longer what they were.
Andris Nelsons’s conception of Strauss’s Tod und Verklärung was impressive, marked by strong contrasts of character, flexibility of phrasing, and a commendable grasp of musical space.
Two divergent works of theater for the screen were at this year’s NYFF, an adaptation of Macbeth in black and white, and a raunchy sleeper from Romania.
A conversation with acclaimed filmmaker, poet, and educator Lynne Sachs about her work, particularly 2020’s Film About a Father Who.
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