Review
Rossini’s epic arrives at the Emerson Colonial Theatre in a visually audacious, musically potent production that turns a familiar liberation story into a contemporary warning.
Lili Reinhart charms as a cancer-curing Stanford Ph.D. candidate, but Amazon’s uneven adaptation works best when it follows Olive’s friendship with Anh—not her contrived fake-dating romance.
In this rich collection of essays and introductions, translator and writer Peter Wortsman considers language as an intimate, imperfect act of resurrection—and guides readers toward a varied company of German- and French-language authors.
There is no question that this new volume will be the resource that all subsequent historians will turn to when they explore the trajectory of classical ballet’s slow — and not yet completed — choreography towards racial inclusion.
“Edie Arnold Is a Loser” is a divinely idiotic punk-rock Catholic-school comedy: sweet, predictable, outrageous, mildly blasphemous—and infectious.
Yuval Abraham and Rachel Szor’s rigorously constructed follow-up to “No Other Land” uses testimony from Israeli military whistleblowers to expose the systems of surveillance, dehumanization, and moral evasion that shaped Israel’s war on Gaza.
The festival’s strongest films find courage, comedy, and unexpected forms of kinship amid political repression, mortality, war, and the complications of family.
John Potter’s deeply researched history follows English carols from streets and taverns to churches, choirbooks, and the contemporary musical vernacular.
From Matthew Rankin’s delirious Brian Mulroney spectacle to Ashley Duong’s intimate family history, TIFF’s Canadian slate offered films unlikely to draw attention anywhere else.
Simone Dinnerstein and A Far Cry brought warmth, virtuosity, and strikingly inventive instrumental color to an expanded version of Bach’s keyboard masterpiece at Jordan Hall.
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