Mistress America is director Noah Baumbach’s latest take on the trials and tribulations of the supposedly indecisive and perennially juvenile millennial generation.
If the 53rd New York Film Festival is any indication, the world’s filmmakers are feeling the heat.
In its day, Auguste Rodin’s now esteemed 1876 sculpture “The Bronze Age” roused the considerable ill will of art critics, most notably for the belief that it was cast from a live model.
Asif Kapadia’s documentary Amy reconstructs the late singer, Amy Winehouse, by giving the viewer the full story, Amy’s entire life from girlhood until her death.
The films of Nathaniel Dorsky and Jerome Hiler are silent, brief, and sagely meandering — luminous contemplations of life, film, and the intimacies between the two.
The films of Apichatpong Weerasethakul are inspired by a poetics of everyday life poised between two extremes.
Luther Price keeps you guessing.
“Superflat,” the name of the art movement influenced by Japanese anime cartoons that was founded by Takashi Murakami, also describes the human characters in his first feature film, Jellyfish Eyes.
Real, surreal, not quite real, a spectacular con — truth is found in many forms.
At first glance, Big Eyes may look like the least Burtonesque film Tim Burton has ever made.
Last week, Pioneer Works hosted a film screening of documentarian Andrew Rossi’s Ivory Tower followed by a panel discussion about the increasing cost, complex ideological underpinnings, and social dynamics of higher education in the United States.
The myth-maker becomes the myth in 20,000 Days on Earth, a fun-house foray through memory, music, life, and creativity.