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A corrupt media lies at the core of “The Seed of the Sacred Fig”‘s powerful condemnation of Iran’s politics, particularly their treatment of women, often in unexpected ways.
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In Godwin Louis’s music, prayer seems best expressed in dance.
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Carlos Simon’s gifts and voice are real even, as with every composer, his muse sometimes leads him down errant pathways.
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There’s plenty in Magnus Lindberg’s viola concerto to occupy the ear, and pianist Claire Huangci makes the complex passagework of a trio of American composers speak with breathtaking ease.
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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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“We want everyone to come and let out a primal scream,” said Amanda Palmer of the Dresden Dolls.
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It is time for some fierce pushback from the artistic community and lovers of the arts to Generative AI Leaders.
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Our expert critics supply a guide to film, visual art, theater, author readings, and music. More offerings will be added as they come in.
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Thanks in large part to the late Phil Lesh’s influence, the performances of the Grateful Dead developed a signature blend of composition and improvisation.
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A reviews of a trio of standout films at this year’s New York Film Festival: Mati Diop’s “Dahomey”, Marta Mateus’ “Fogo do Vento”, and Jem Cohen’s “Little, Big, and Far”.
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