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Amir Nizar Zuabi’s engaging drama is a hopeful testament to communication and forgiveness.
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2020 offered another rich year for the documentary form, well beyond the tabloid entertainment of the likes of Tiger King
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Two from Dave Brubeck: Time Outtakes, the alternate tracks for the Dave Brubeck Quartet’s classic 1959 album Time Out is very good to have; Lullabies is filled with the intimate sound of the pianist’s old age, tender affection, and distilled musical wisdom.
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The filmmakers use their story to point towards a way to help us navigate through our own polarization; it has something to do with each of us widening our perspective to take in more than just our immediate experience.
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Some pithy quotes to keep in mind for the New Year.
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At a time when ambitious women of any sort were often harshly criticized for pursuing a professional career, Barbara Rose only forged on.
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The film feels amateurish in the most complimentary Stendhalien sense: created in a spirit of play, rather than a sweaty effort to advance a studio agenda.
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Lots of artists made recordings during their lockdowns that have been released as vinyl, streams, videos and, in the case of the Attractors and Flying Vipers, even cassette tapes.
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In its efforts to subvert well-known tropes, and reclaim the subgenre’s feminist cultural potency, Promising Young Woman undercuts its own transgressive potential by doing away with what makes rape-revenge films compelling.
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Some of the best music documentaries of 2020 – and some disappointments
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Holiday Commentary: Making Room for the Stranger