Film
The privilege Edith Wharton’s characters swim in has not disappeared. If anything, it’s expanded farther into the social stratosphere.
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Nancy is mystifying, but in this case the inexplicable has its fascinations.
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Summer 1993 is provocative, both for the raw depth of the emotions it evokes and the directness of its storytelling.
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This effort is the most ‘Hollywood’ score the BSFO has created yet, a plush musical carpet for The Man Who Laughs’s emotional high and lows.
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A chance to see two important works by pioneering African-American filmmaker Bill Gunn.
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Luchino Visconti made theatrically tinged movies driven by music, indebted to painting, sculpture, architecture, and literature—he accomplished, dare I say, a fusion of the arts.
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Tony Zierra’s film is a worthy and interesting one, but I admit to becoming worn down by the endless litany of unglamorous ways that protagonist Leon Vitali worked his butt off for the genius filmmaker.
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Let the Sunshine In is French filmmaker Claire Denis’s one-note ode to the power of love even when, in this case, love stinks like dead fish.
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Writer-director Michael Pearce’s debut feature is self-assured and finely-wrought.
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There is real suspense and pathos in this political drama, beneath the standard cinematography and pacing.
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Arts Feature: Best Movies (With Some Disappointments) of 2025