David D’Arcy
It is stunning to see these flags of beads and sequins on cloth, and the adjectives keep on coming — hypnotic, baroque, beguiling, hallucinatory.
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This year’s Berlin International Film Festival launched a couple of films aimed at a mass audience. The results were mixed.
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The Persian Version and Eileen offer different takes on friction in the family.
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Beyond Utopia is a grim reminder that, against growing odds, people keep leaving North Korea, or try to. It may be a while before another family agrees to film the journey out.
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Kim’s Video is quixotic in a nutty way — in an old Indie style — that is more refreshing than it is nostalgic.
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The allure of Venice, as crafted by Venetian artisans, seduced American artists and collectors, who traveled across the world and brought back their prizes to American homes and eventually to museums.
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Now, more than a year after Kabul fell, Afghanistan, where a conflict media-branded as “America’s longest war” waged for twenty years, barely makes the news.
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Two films look at the hardships and realities of rural life, past and present, at the New York Film Festival.
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It is tempting to call All That Breathes a film of great humanity, but the documentary’s empathy extends far beyond humans.
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The nine-part film series focuses on the artist in his studio in Johannesburg. We see William Kentridge as he draws, paints, designs, paces the floor, and thinks out loud — among other things.
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