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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.
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.
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.
Because Mindy Aloff is so deeply personal and idiosyncratic — and so dependent on what was programmed by certain theaters, in certain years — her book distorts the very topic it is intended to illuminate.
This is an immigrant story that we’ve heard over and over again. Still, despite its familiarity, this particular quest for the American Dream — told in a wonderful and often funny mix of Spanish and English — is compelling and interesting.
Janet Malcolm never brings up the possibility that her powers of memory have dramatically diminished in old age. If that were the case, such an admission would’ve strengthened the book, giving it context. It would have humanized it, too.
Both jazz combos, The Bad Plus and Marc Ribot, sport connections to rock, which might have contributed to the sold-out room.
By focusing on dialogue and artistic collaboration, Her Story Is explores what life is like for Iraqis now, especially the country’s women.
Instead of adoring function from an aesthetic distance, Matt Paweski confronts it where it lives. These sculptures play with the self-insistence that function has always had in modern design.
Fest Review: IFFBoston Shorts — Part One