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Revelatory reunions are a standard dramatic setup, which explains why it takes quite a while for “The Grove” to gather some theatrical steam.
If the fate of life on earth comes down to mother and daughter bonding over a racy passage in Anaïs Nin, then he whales should just call it a day.
It was not the first time the Sarajevo Haggadah had benefited from Muslim protection: during the Nazi occupation, another librarian had spirited the Hebrew manuscript out of danger and hidden it in a local mosque.
Director Robert Eggers’ take on the venerable vampire is a little too buttoned-up, too clean, too refined.
Davalos’s fast-paced wittiness and director Keith Stevens’ deft management of dramatist’s words and dramatic action keep us in stitches.
A pair of documentaries featured in this year’s Arlington International Film Festival take a cold look at the death cult of fascism — past, present, and to come.
Not only do Lǐ Zǐqī’s videos offer us the satisfaction of seeing material labor, but they also suggest the impossibility — in the modern world — of genuinely recreating the work of the past.
At this time in the Boston jazz scene, there are no ongoing spaces for big bands and, predictably, the number of such ensembles has shrunk.
Documentaries celebrating communities shine at the Independent Film Festival of Boston.
Arts Commentary: Meditations on Separation
This is what I feel can add: the perspective of a native-born son of the Rochester metro; and a view from the bridge through jazz-colored glasses.
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