This new satirical sci-fi fable is perfect for home streaming to channel (or perhaps exacerbate) your gnawing anxieties at a world slipping into anti-human automation and free-market desperation.
Ezra Haber Glenn
This is a thoughtful, surprisingly moving, and extremely ambitious film, one that employs an innovative style and some unconventional pacing to explore an unusually complex philosophical and emotional landscape.
Without ignoring the terrible-beautiful magnetism of the industrial imagery we love to hate and hate to love, the camera is gradually, gently, drawn across the river and away from the workday, to spend time with these very real humans who serve the machines.
Censor explores thought-provoking questions about the strange relationships between films, society, fantasy, and reality — and individual identity — in an increasingly mediated and violent world.
Fern may be house-less, but she’s not homeless — there’s a difference, she explains; her home will be the road, and the road is full of life, love, challenges, and surprises, all there for the taking.
While the film is determinedly called “Herself “(“you got this, girl…”), the subtitle could equally have been “It Takes a Village…”
This innovative “documentary” is a major accomplishment: it merits a much broader viewing than it is likely to attract (this one has “sleeper” and “cult classic” written all over it).
Like a day in a Disney dream-land, the “heaven-on-earth” glow of life in The Villages ultimately fades – quicker for some than for others.
In this innovative series, the Huntington Theatre Company has charged 11 local playwrights to imagine a future vision of Boston, post-pandemic, when “we can once again meet and connect in our city.”