We weren’t sure if Madonna could surprise us anymore. Until she did.
The film understands that historical truth and personal memory are inseparable.
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McElwee discusses, among other things, his new film and staring down the loss of his son.
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Tsai’s film is an illuminating, musical embrace for the ages.
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The film uses the Minions to smuggle in a message about the enduring power of cinema.
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The album sounds beamed in from an earlier decade, but it runs deeper than nostalgia.
The track is a bustling pop-rock song bolstered by a clangy guitar riff and searing synth line.
The new song serves as the lead single from the singer’s third studio album, Lost Weekend.
The Aussie director discusses why horror was the right vessel for his commentary.
These films are generous reminders that cinema isn’t always about diagnosing global problems.
The show is at its best when it examines the questions that Susanna Kaysen did in her memoir.
The common refrain this season has been one of despair, of theatrical death by dearth.
The play is a metaphor for a life in the arts, though also possibly love, or living a purposeful life.