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Here’s my list of two dozen superlative operatic offerings of wildly differing kinds, plus some notable non-operatic offerings.
Rather than coming across as angry or urgent, Iranian director Jafar Panahi’s No Bears feels muted, perhaps even subdued to the point of depression.
The music was loud, the dancers laughing and sweating and clearly happy to be liberated from their cabin-fever inducing confines to let loose and have some fun.
Rosewater is a movie for the idealists, with the implied hope that a principled and conscientious mass media can give the new breed of technologically savvy activists a louder voice.
Patrick Gabridge’s political satire presents some intriguing sci-fi-like concepts, but the play falls into too many narrative potholes.
There’s no question in my mind that Woodlands Dark and Days Bewitched will remain the definitive work on the history of folk horror for many years to come.
Wild Horses is a sort of hybrid of familiar coming-of-age stories: Little Women meets Summer of ’42, with a dollop of Stand By Me tossed in for intrigue.
Admissions is a successful comedy, but not quite the hot, scathing satire of ‘privileged whiteness’ one might gather from the ads. (Or from some of the local reviews.)
Experiments With Empire makes some perceptive points about how the connections between ethnology and fiction can help us re-imagine the world.
Given the country’s current existential crisis, this genre-bending, ambitious-to-the-max debut novel about an uprising in Puerto Rico comes at the perfect time.
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