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A powerful performer and artist emerges in this ambitious album about being publicly ostracized and maligned — and coming back stronger.
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What sets “Cold Nights of Childhood “wonderfully apart from today’s autofiction genre is the narrator’s absolute lack of self-pity. There is no blame-game, and no lugubrious victimhood.
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Our expert critics supply a guide to film, dance, visual art, theater, author readings, and music. More offerings will be added as they come in.
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“I Saw the TV Glow” is nothing short of astonishing, a defining moment in queer cinema in the making and proof positive that Jane Schoenbrun is one of our generation’s most needed filmmakers.
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The relationship between the two leads keeps Nowhere Special grounded in what is the film’s moving core — a high-stakes love story between a father and a son.
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Veteran British director Ken Loach turns over a new leaf in “The Old Oak”.
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“Challengers” is an exploration of eroticism in the broadest sense: the eroticism of competition, the sensuality of sport, and the messiness of human relationships.
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Clea Simon’s latest mystery, “Bad Boy Beat,” features the memorable heroine Em Kelton, a tough Boston journalist who can mix with the hard-boiled reporters and hard-living cops on her beat — none of whom want to realize that she happens to be a brilliant detective.
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Yes, Munch and Kirchner were into angst; but they were also artists of great energy, talent, and daring, who found new ways of working and did much to shape the direction and force of modern art.
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This superb Speakeasy Stage Company/Front Porch Collective co-production is emotionally charged and immediate, intent on keeping the material fresh and raw.
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