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Yto Barrada’s intent in this show is not to warn about environmental catastrophe so much as to explore where culture and the natural world meet.
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These three Sundance films supplied very intense viewing experiences.
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You know how the story is going to end, but it can only unfold if you take Cassandra’s hand and follow where she knows to go. Believe that she knows the way.
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We learn that Navalny — if we didn’t know it already from reporters who cling to Putin’s charismatic nemesis — is a persuasive man who has gotten a long way on his wits and courage.
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From the pandemic’s beginning, Charles Finch uses the crisis as a nearly daily backdrop for musings on all sorts. The results are at once cathartic, frightening, exasperating, and often hilarious.
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An upstart young rider confronts an aging jockey. Yet there’s nary a cliché.
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When given a choice, tend to choose films that are fairly harrowing to watch. The next three Sundance Fest films on my slate were often disturbing, but also powerful and inspiring on many levels.
Read MoreOpera Review: Arabs on the Operatic Stage — Meyerbeer’s 1814 Comic Opera about the Mysterious ‘East’
Long before the often-prejudicial portrayals of Middle Easterners in Hollywood films, opera composers crafted insightful works from 1001 Nights.
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Tamas Dobozy is an anarchist in the best sense of the word: it’s not chaos he’s enamored of but a way of life untrammeled by political oppression, bureaucratic horrors, legal absurdities.
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I’ve seen a really interesting assortment of films so far. I can’t recite them all from memory, but they’re not blurring into each other, either. Not yet, anyway.
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