Review
Betye Saar’s assemblages and travel sketchbooks are rich in references and symbols; they are mysterious and introspective, more spiritual than political.
By David D’Arcy At the Tribeca Film Festival this year, documentaries led the way as usual. A Revolution on Canvas (Untitled Nicky Nodjoumi), directed by Till Schauder and Sara Nodjoumi, is an ambitious look at one family’s experience of the Iranian dynastic dictatorship and its successor, the Iranian Islamic revolution. The film is the story…
An unreliable narrator is a tough row to hoe for a fiction writer, but a narrator who doesn’t quite know what to think — that’s even harder ground to plow.
Two documentaries grapple with the ’60s, a decade of chaos, craziness, and the potential for doom or salvation.
I immediately heard how adept these players were — and how brilliantly they played together.
I wonder why this fine session was withheld for 49 years. It might be the bitter-sounding texts, or the very fact of vocals in a jazz session.
Asteroid City is hard to pin down, largely because it holds its ideas about nostalgia and grief at arm’s length.
Sloane: A Jazz Singer is very sweet film that never cloys because of the singer’s naturalness, honesty, occasional self-deprecation, and sense of humor.
Both of these documentaries offer gratifying viewing for any curious roots music fan.
This offbeat bio of Turtles vocalist, songwriter, and clown prince Mark Volman has been assembled from amusing, insightful, horrifying, honest, and candidly told stories from friends, family, and even some foes.
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