David D’Arcy
The Berlin international Film Festival has always been an event where films on art, architecture, and design premiere. This year, as always, the selections were a mixed bag.
Diamonds, drugs, and sex — the stuff of movies.
Two stylistically different films in which workers are exploited and empowered.
The Velvet Queen, elegantly directed by Marie Amiguet and Vincent Munier, is a vivid chronicle of an arduous journey, old-fashioned but visually high-tech.
New York has come back to life, so there is more art to see than anyone has time to visit or write about.
Albert Speer’s reputation as a “good Nazi” was this architect’s postwar monument. He spent as much time burnishing that brand after prison as he did when he was rising through the Nazi ranks.
Reviews of Todd Haynes’s documentary The Velvet Underground, Bruno Dumont’s France, a satire-drama about the news industry, and Nature, Artavazd Peleshian’s graceful parade of natural disasters.
Two divergent works of theater for the screen were at this year’s NYFF, an adaptation of Macbeth in black and white, and a raunchy sleeper from Romania.
Let’s see if Prayers for the Stolen is selected as Mexico’s Academy Award nominee. It’s a long shot, given that this is a film that tells so much of the truth.
Docs at the Toronto International Film Festival ranged from the topical to the historical to the cultural. Here are a few that you should try to see.
Recent Comments