Film
A rigorously faithful “Stranger” that nonetheless reframes the novel’s moral center in worthy, modern ways.
A retrospective of four films by those two Hungarian artists unfolds as a monochromatic monolith of mud, misery, human folly, and inexorable corruption.
Kristoffer Borgli’s A24 feature flirts with social relevance but ends up exploiting a reality it refuses to confront.
Claude Lanzmann’s haunted pursuit of testimony and Henrietta Szold’s humanitarian legacy illuminate the enduring power of courage and conscience.
Faced with the bizarre evolution of John Lilly’s life and ideas, the directors were wise to refrain from sensationalism.
A pair of eminent lives — celebrated.
This is pure cinema, unpretentious, rough-hewn, mystical, conjured from the earth, offered up at the forest altar of whatever flesh-and-blood gods are still listening.
This year’s Berlin International Film Festival was nothing if not political.
AIDS made us strangers in our own lives. It took our world and made it foreign, putting us in the same socio-cultural no-man’s-land where “Alpha”‘s immigrant family is struggling.
The narrative is filled with secrets and mysteries that tease and fade away — and the deepest mysteries lie within that basic social unit, the family.
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