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A turn-of-the-century schoolteacher’s idealism collides with alpine tradition—and the land itself—in a beguiling, sensorially rich debut.
Documentarian Ross McElwee’s most profound film folds four decades of self-portraiture into a threnody for his son—and a meditation on memory, guilt, and cinema’s solace.
This week’s poem: Brendan Lorber’s “Sag Harbor in the morning”
The webslinger’s new outing has the cameos, the conspiracy, and the corporate logic. What it doesn’t have is heart.
Kelly McWilliams’s “No One Leaves the Manor” turns a haunted-house setup into a sharp, lyrical reckoning with race, class, disability, and trauma.
From Tom Morello’s searing set to CMAT’s breakout turn and Dave Matthews’ final-set detour, the festival kept its focus on music that opened outward rather than looking back.
The punk auteur’s late-career swan song is ragged, witty, and politically sharpened, though not always as cohesive as its ambitions.
“The Dink” turns pickleball rivalries into an easygoing comedy about aging, ego, and unexpected connection.
Tomahawk readies a rare tour stop in Boston as its members reconvene after more than a decade.
Arts Commentary: The Orchestra Gap — Europe vs. the US
The widening chasm between European and American orchestras is not just a matter of polish, but of style, inheritance, and musical conviction.
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