Elizabeth Strout counters Olive Kitteridge’s unpleasantness with two of the most important, traits of a standout character: the Ghost and the Lie.
Céline and Julie Go Boating transcends its mystic device of hijacked cinéma verité to present an authentic idea of truth in the contrived world of celluloid.
With two new live recordings, jazz saxophonist Miguel Zenon looks to two sources of inspiration for his border-crossing art and tells PopMatters his story.
Haroula Rose, singer, songwriter, and debut filmmaker emulates cinema from countries outside of the US in her understated adaptation of Bonnie Jo Campbell’s Once Upon a River.
Surprise shows that the familiar pleasures of Paul Simon’s work are the themes and musical sparks that leave a lasting influence.
Despite an initially lukewarm critical reception, Sum 41’s All Killer No Filler enjoys a place in the pop-punk pantheon as it hits its 20th birthday.
By identifying King Lear with the ancient Japanese warlord Hidetora, whose violations emerge from a breach of publicly identified self-hood, Akira Kurosawa plays with the quintessentially Shakespearean focus on individual personality.
Filmmaker Boaz Yakin talks with PopMatters about the liberating experience of forsaking tone and not caring if he makes a cent on his gender-swapping, story-told-through-dance, not-from-Hollywood film, Aviva.