Film
A quartet of standout movies, the best of the just ended Provincetown Film Festival.
The privilege Edith Wharton’s characters swim in has not disappeared. If anything, it’s expanded farther into the social stratosphere.
Nancy is mystifying, but in this case the inexplicable has its fascinations.
Summer 1993 is provocative, both for the raw depth of the emotions it evokes and the directness of its storytelling.
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.
A chance to see two important works by pioneering African-American filmmaker Bill Gunn.
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.
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.
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.
Writer-director Michael Pearce’s debut feature is self-assured and finely-wrought.
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