There is a terrific scene late in the powerful and old-fashioned epic “Cabrini,” on the eponymous Italian Catholic missionary nun who not only founded a peerless orphanage in New York at the turn of the 20th century (and gave her name to Hudson Heights’ serene Cabrini Boulevard in Manhattan), but also resolutely built a worldwide […]
“The Arc of Oblivion” is a documentary about a lot of things, including the futility of its own existence. Writer-director Ian Cheney, who also narrates, presents himself as, basically, a hoarder, mainly of hard drives containing photos, video and audio of various things in his life, some of them undeniably important and others that fall
“Do you need a reason to be unhappy,” asks Carol (Sarah Gadon) in Meredith Hama-Brown’s effective character study “Seagrass,” the story of how grief often begets other repressed emotions and possibly even tragedies. There’s something fascinating in that question in that it gets at how often depression can be like a snake eating its tail
Everybody lies. Whether with malice, for self-preservation, or to spare another’s heart, fabrications lubricate or erode social interactions. But it’s in the liminal space between the idea of absolute certainty an unattainable utopia and the most outlandish of falsehoods where what matters most resides: how an event makes us feel overpowers the importance of facts
Spanish filmmaker Fernando Trueba, who co-directed “They Shot the Piano Player,” first encountered the work of the film’s subject, Brazilian keyboardist Francisco Tenorio Júnior, in a record store twenty years ago. Trueba was so enraptured by the music that he looked Tenorio up online to see what else he’d done, and was horrified to learn
There is a singular image that beautifully sums up the theme of Nenad Cicin-Sain’s “Kiss the Future” as well as the siege in Sarajevo itself. I have seen this image many times: as a CD cover, a poster, a heavily filtered image in a music video, on a giant screen in a stadium during a
Lily Sullivan, who broke through with an impressively physical performance in last year’s “Evil Dead Rise,” gives a remarkable one-woman show in Matt Vesely’s effective “Monolith,” a sci-fi thriller that somehow finds a way to make podcasting cinematic (mostly). It does so by mining what feels like that current of rising anxiety in the international
