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In Never Gonna Snow Again, Polish filmmaker Malgorzata Szumowska combines the social realism she’s known for — marked by a dry, laconic tone — with a mystical plot. Zhenia (Alec Utgoff), a young Russian-born masseuse/healer, services clients in a wealthy Polish gated community who suffer various forms of grief, loneliness, and unfulfillment. They include a frustrated housewife (the superb Maja Ostaszewska), an eco-conscious widowed intellectual (Agata Kulesza), a dying man (Lukasz Simlat), a repressed soldier (Andrzej Chyra), and a dog-obsessed gourmand (Katarzyna Figura). Zhenia becomes their confidant, and with his hypnotic powers, this outsider nudges the denizens of this high-class bubble toward self-awareness. He becomes a mysterious redeemer, his inscrutability exposing the moral frailty of those around him.
Szumowska sprinkles satire of affluence throughout, such as in shots of community guards zipping around on scooters, or in the casual xenophobia Zhenia faces. In a clear reference to Andrei Tarkovsky’s Stalker — another vision of a post-apocalyptic world that can only be redeemed by profound belief — the enigmatic youth moves a glass with his gaze. The way in which Szumowska remixes the divine and the existential also recalls the moral fables of Krzysztof Kieślowski, particularly his soul-searching series Decalogue. And though, unlike Kieślowski, Never Gonna Snow Again reassures us at the end that the world is redeemable — snow does in fact fall — its underlying ambivalence about societal and familial bonds radiates disquiet.
Never Gonna Snow Again is now in select theaters and virtual cinemas.
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.