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.
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Diamonds, drugs, and sex — the stuff of movies.
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Two stylistically different films in which workers are exploited and empowered.
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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.
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New York has come back to life, so there is more art to see than anyone has time to visit or write about.
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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.
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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.
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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.
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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.
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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.
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