Fellini’s fable about an innocent clown roaming postwar Italy with an abusive strongman, La Strada, has the romance of his later epics but a more potent sense of tragedy.
John McWhorter’s pushback against the antiracist orthodoxy of Robin DiAngelo and Ibram X. Kendi lands palpable hits but is too scattered to win the match.
Lynne Ramsay’s gutting, eerily beautiful first film, Ratcatcher, shows a director refusing to let the impoverished circumstances of her characters define them.
Todd Haynes’ audiovisual blast delves into the creative combat that birthed America’s first great avant-garde rock ‘n’ roll band, the Velvet Underground.
In the inside-out drama Bergman Island, a filmmaker couple vacationing in Ingmar Bergman’s old home find the lines between their work and their lives blurring.
Pablo Larraín’s Ema conveys his usual hypnotic and sinuous flow of sight and sound, but it’s delivered here with a more modernistic, punchy antagonism
‘All the Streets Are Silent’ Celebrates the Cross-Fertilization of Hip-Hop and Skateboarding in Pre-Gentrification New York
Elkin’s All the Streets Are Silent shows how skate crews and rappers picked up the mantle of guerrilla art and commerce in the post-Warhol and Basquiat years.
Tom McCarthy’s Stillwater is straightforward but not didactic about the unthinking privilege of its blue-collar protagonist and the damage he causes.
Barry Jenkins’ beautiful and brutal adaptation of Colson Whitehead’s alternative history, ‘The Underground Railroad’, indulges in compelling retro Afrofuturism.