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Despite Leonard Cohen’s outward humility, he was, in fact, an artist who very much cultivated acclaim, and wanted that attention to endure.
“A great novel makes for the best script an actor could imagine,” said actor Colin Firth recently, on accepting an award for his reading of Graham Greene’s The End of the Affair. Many theatergoers would agree.
Against all odds, these characters test the limits of what were considered “normal lives” at that time. The testing is what gives “The House of Doors” its urgency and intimacy.
A genuine satirist kicks against all the pricks, relishing that he or she might challenge rather than placate audiences.
By David D’Arcy At the Tribeca Film Festival this year, documentaries led the way as usual. A Revolution on Canvas (Untitled Nicky Nodjoumi), directed by Till Schauder and Sara Nodjoumi, is an ambitious look at one family’s experience of the Iranian dynastic dictatorship and its successor, the Iranian Islamic revolution. The film is the story…
This show brings together works that emphasize an optimistic view of where we are by dramatizing ways in which we can develop a more empathetic connection with the struggling environment.
The Dig is suffused with a very English (and problematic) sense of history: why it matters, how it can be taken for granted, and the odd way that certain elements of the past are valorized while others are kept buried.
Down in the Weeds, Where the World Once Was is a natural next step forward for Bright Eyes, evolving while remaining true to their core identity.
Our theater critics pick some of the outstanding productions of the year.
What makes Lars von Trier one of cinema’s most fascinating directors? It is his willingness to pull out the stops in a riotous search to understand his own mind and ask questions about human nature. His films are a quest to find himself.
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