When anyone looks in the mirror, Le Courbeau's Vorzet suggests, they see a devil accompanied by an angel. See the premiere of a new 4K restoration with an all-new translation of Le Corbeau at Film Forum NYC 20 April through 1 May.
The initial role Ulrich took on as the archivist of the Timothy Leary archive was to publish excerpts from it on a public blog. That seems more suitable than this rather stolid book.
Ernst Ludwig Kirchner knew that melancholy arises from our longing to connect with the world and our knowledge that it continually slips from our embrace.
There's no need for a suspension of disbelief in this film insofar as An Actor's Revenge revels in our disbelief, our constant awareness of the staginess of the action—regardless of whether we are witnessing kabuki performances or the carrying out of the revenge plot itself.
A. J. Baime offers his readers an "aw shucks" story of an American Everyman thrust into a position of awesome power and somehow "makin' good".
For the titular Tom and those of the "angry young men" art movement, all the world is a courtroom, judging and evaluating them, condemning them to a life they would not choose. It just so happens that Tom enjoys his captivity.
Perhaps, Kenneth Whyte suggests, Hoover was not the failure he is often made out to be, and consequently, FDR is not nearly the success he appears to have been.
In Piccoli's characters there are always at least two selves—an outer self that strikes out at the world with aplomb and confidence and an inner self that crouches diffidently behind the façade, hoping not to be found out, hoping to get away with the deception.
To get people to care about the planet they must feel a connection to it. In this, the BBC Blue Planet series succeeds.
By serving as a midwife to artists, the "Dean of the Harlem Renaissance" Alain Locke would help foster an art that would stand as a midwife to a better future.
Prize-winning historian Jane Kaminsky's Revolution in Color paints the era of the American Revolution with beguiling precision; John Singleton Copley, a man who resisted what we regard as the inevitable outcome of the era, emerges sharp and distinct.
With all of their differences, the insistence that we are moved is integral to the cinematic enterprises of both Jean Rouch and Robert Drew.
For Welles, the director is "the man who presides over accidents but doesn't make them" and never were there more accidents over which to preside for Welles than in Othello.
Jabberwocky takes the enticingly evocative, nearly blank canvas of Lewis Carroll's poem and fills it with a parody of medieval banalities that make the film a grimier, far less amusing companion to Monty Python and the Holy Grail.
Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.
Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.
© 1999-2018 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.
