Review
“All We Imagine As Light” is an absorbing celebration of female friendship.
“Babygirl” comes off as a rather lascivious take-down of yet another older woman who has everything she wants except … sexual excitement.
Is it possible to reclaim a marginalized legacy? And how do you step up to take a seat at the table when your history has been neglected and forgotten?
After five decades of blending strong technique with playful satire, the Trocks continue to impress, but some of their once-fresh humor feels a bit played out.
Perhaps director Marielle Heller decided that “Nightbitch”‘s unusual premise had to be balanced with a decorous storytelling trope.
It seems every year the quality of feature films, especially those from mainstream studios, is getting worse, while that of documentaries is getting better.
Interviews with a pillager – “Plunderer” examines Nazi art theft at DOC NYC; two other docs remember Artsakh, a country that is no more
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.
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.
“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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