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After five decades of blending strong technique with playful satire, the Trocks continue to impress, but some of their once-fresh humor feels a bit played out.
Perhaps director Marielle Heller decided that “Nightbitch”‘s unusual premise had to be balanced with a decorous storytelling trope.
It seems every year the quality of feature films, especially those from mainstream studios, is getting worse, while that of documentaries is getting better.
Interviews with a pillager – “Plunderer” examines Nazi art theft at DOC NYC; two other docs remember Artsakh, a country that is no more
This week’s poem: Alex Carrigan’s “I Somehow Swallowed the Knife”
Lutz Seiler’s novel is part of the post-reunification literature landscape, in this case a brilliant exploration of the personal and political viewed through the consciousness of a pensively bedeviled protagonist.
Our critics salute the year’s outstanding productions.
The model here is clearly Ornette Coleman’s early quartets on Atlantic but, in the hands of these trios, it’s clear there’s much that’s still fresh left to explore in this 65-year-old style.
An eclectic round-up of the favorite books of the year from our critics.
“Real Toads, Imaginary Gardens” is a power-packed guide to the way poems are made and understood, a useful addition to the bookshelf of anyone who reads the art for pleasure.
Arts Commentary: These Goosesteps Don’t Lie — Shakira in El Salvador and the “New Security” Aesthetic