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This year’s Berlin International Film Festival launched a couple of films aimed at a mass audience. The results were mixed.
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The Quiet Girl is the first Irish language nominee for the Best International Feature Oscar, and it’s not hard to see why this subdued gem of a film is capturing hearts.
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Two takes on the orchestral music of Prokofiev — one impish and unpretentious, the other revelatory.
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Anyone who cares deeply about cinema owes Jonas Mekas an abiding debt for all that he did for independent American filmmaking.
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The populations in former Soviet Socialist Republics and current NATO members Latvia, Lithuania, and Estonia know all too well what it’s like to live under Russian subjugation as is seen in a trio of trenchant and timely documentaries.
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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For director Frances O’Connor, the Gothic novelist is an artist who casts off repressive social norms and uses words to evoke (and exorcise) demons of terrible natural beauty.
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It’s no wonder poets have been drawn to write about Guyer and Twombly’s work. We are carried away by an art that is always immediate, hic et nunc, but elsewhere too.
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Veteran director Nicolas Philibert’s inspiring documentary about the humane treatment of the mentally ill touched the Berlin jurors in what was a generally disappointing competition.
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