Film Forum’s “Genre is a Woman” series pays homage to women-helmed horror, action and sci-fi movies.
The films are well matched. Both are alternately funny and sad. Both feature women striving to make it in fantasy industries
Donna Tartt's The Goldfinch has its admirers and detractors. But what can we say about the sensibility of an author who writes a novel based on a sui generis work by a l7th century painter, Carel Fabritius, at the same time naming its central character after the brother of a famous post-Impressionist painter?
MoMA's Titus I theater looked like a gathering for New York filmmakers and artists on Monday night: Wes Anderson, Noah Baumbach, Greta Gerwig, Jim Jarmusch, Laurie Anderson, Hal Willner, Gay Talese, and others, many of whom had already seen the Apu Trilogy as Satyajit Ray's masterwork is called.
One of the signs that our future may turn out to be OK after all for me is watching the upward trend on the types of films that secure distribution in the U.S.
It is a rollicking adventure story into how Jodorowsky conceived of his idea Dune, and the inspiring wild steps Jodo took to make it. Jodorowsky thought big.
In 2007, Copeland made history by becoming the third black female soloist at the American Ballet Theatre and has maintained a high profile performing with recording artist, Prince and receiving praise from major magazines. Still she is focused on shattering even more barriers in her field.
The Audacity of Thought: Film Director Margarethe von Trotta Examines the Life of a Passionate Intellectual in Hannah Arendt
Thinking and smoking. Smoking and thinking. Thinking, smoking, and pacing the floor of her apartment on Manhattan's Upper West Side. This is how we see the gifted academic and profound socio-political philosopher, Hannah Arendt, prepare to write.
Von Trotta's film vividly captures the impact Arendt's work had in both the United States and Israel and how Arendt's stubborn beliefs could be both a weakness and a strength.
Charcot's interventions with Augustine run the gamut -- from gentle, sensuous spoon-feedings to physical torture using a device of his own invention, known as the ovary compressor.
What is it about Planet of Snail that makes it so watchable, so undeniably unforgettable? It's the idea that for the wonders of this world to exist we don't have to hear them or see them, but just imagine them there.
Abramović can be viewed as a study in neediness, only partially assuaged by a designer-clothes-buying binge. But her brave attention-getting strategies defy pathography.