Film
This time around, I decided to go all in and totally movie-pill myself by seeing all 12 films in the feature line-up at the expense of my own sanity. Just kidding …
The Cairnes brothers explore how the analog media trickery of a bygone era may illuminate our current obsession with what is real.
This year’s Salem Film Fest spotlights the price of being a rebel.
“Love Lies Bleeding” is a glorious work of sweaty, dusty, pulp filmmaking.
Noora Niasari’s personal involvement elevates “Shayda” above melodramatic Lifetime fare: this is a compellingly warm tribute to the Iranian director’s mother.
Walking a fine line between fiction and documentary, director Sacha Polak has fashioned a film that is achingly real because it evokes life’s unpredictability.
“Make Me Famous” is not the portrait of a superstar like Jean-Michel Basquiat or Keith Haring; this protagonist is representative of the everyday angst, the struggle, the not-making-it, and the work that was produced regardless.
These films might not often directly address the looming menace of Russia, but the tragic history shared by the countries shadows even their moments of happiness, levity, and hope.
A Mexican director sets a British play in a Times Square restaurant and patients talk to their psychiatrists in Paris.
“Four Daughters” calls attention to the complex and admittedly slippery nature of nonfiction filmmaking.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy