Review
Perhaps director Marielle Heller decided that “Nightbitch”‘s unusual premise had to be balanced with a decorous storytelling trope.
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It seems every year the quality of feature films, especially those from mainstream studios, is getting worse, while that of documentaries is getting better.
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Interviews with a pillager – “Plunderer” examines Nazi art theft at DOC NYC; two other docs remember Artsakh, a country that is no more
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Lutz Seiler’s novel is part of the post-reunification literature landscape, in this case a brilliant exploration of the personal and political viewed through the consciousness of a pensively bedeviled protagonist.
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The model here is clearly Ornette Coleman’s early quartets on Atlantic but, in the hands of these trios, it’s clear there’s much that’s still fresh left to explore in this 65-year-old style.
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“Real Toads, Imaginary Gardens” is a power-packed guide to the way poems are made and understood, a useful addition to the bookshelf of anyone who reads the art for pleasure.
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Once again, Revels has pulled together a varied and diverse cast of amateurs and professionals to amplify a valuable lesson: it’s important to stop and take stock of our lives during the longest night of the year and to have faith that a new year will bring renewal and growth.
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A look at three exhibitions of photography — two of them shine a revealing light on personal and political concerns.
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Director Robert Eggers’ take on the venerable vampire is a little too buttoned-up, too clean, too refined.
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Museum exhibitions take a long time to put together, and the circumstances that justify them at their inception sometimes evaporate by the time they appear.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues