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A quartet of highlights from this year’s Toronto International Film Festival: Anatolian Leopard, Dashcam, One Second, and Dug Dug.
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The Card Counter collapses under the weight of director Paul Schrader’s guilt complex.
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Vocalist Anaïs Reno and Mark Masters and his big band supply compelling homages to the brilliance of Duke Ellington and Billy Strayhorn.
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Re-envisioning and performing this beloved classic ballet with dancers that identify as disabled seems to me to be the definition of courageous.
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About Endlessness’s deadpan combination of sadness and rage feels complete, as if the master dropped the mic before leaving the building after the final edit.
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One might risk hyperbole by saying so, but in this instance such recklessness is worth it: this album sounds like Brahms as he ought to be played and sung.
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In the age of COVID-19, Arts Fuse critics have come up with a guide to film, dance, visual art, theater, and music — mostly available by streaming — for the coming weeks. More offerings will be added as they come in.
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Producer Ted Olson is on a mission in We Shall Be Reunited to do justice to the past; he imagines a beautiful alternative to the current ballyhooed origin story of country music.
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The voice in Field Music is disciplined, its cagey earthiness unfailingly engaging our attention.
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Film Interview: Bertrand Tavernier (1941-2021) Talks About – What Else? – French Cinema
We mourn the loss of an affable generous man, a bridge to a vast history, who also knew and loved American culture.
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