Each slips in and out of a representation and interpretation of events. The question is: Which is which?
The music video finds the 18-year-old Lorde carvorting with a married man.
Over 30 years into her career, Madonna is still acting like a virgin.
As promised, the song skews more toward the slick trip-hop of Born to Die than the rootsy rock of last year’s Ultraviolence.
How wonderful it is to watch a film that pays attention to life’s finer textures.
The real test of a festival must, at some point, come down to the strength of its new titles.
As the festival celebrates its 50th year, it continues to be a major showcase for Central and Eastern European cinema.
While the single doesn’t quite match that song’s taste-making reinvention, Janet and company get an extra E for effort.
The apparent moral of the story? We are all Madonna. So grab your grillz and start humping the nearest wall.
Florence and the Machine, Spoon, Betty Who, Brandi Carlile, Hurray for the Riff Raff, Shakey Graves, Christopher Denny, & Awolnation.
Mumford & Sons, My Morning Jacket, Slayer, Gary Clark Jr., Bleachers, Catfish and the Bottlemen, SZA, & Phox.
Kendrick Lamar, Alabama Shakes, Against Me!, Flying Lotus, Tears for Fears, Sylvan Esso, Elle King, Earth Wind & Fire, & More.
Mac Demarco, Courtney Barnett, Little May, The Temples, Houndmouth, Parlour Tricks, Raury, Strand of Oaks, & More.
With a few painterly strokes, Polak’s camera powerfully evokes the central dump’s hellish dimension.
Many of the excellent documentaries screened at BAFICI articulate a surprisingly coherent argument about nonfiction filmmaking and its relationship to the real.
A rustic Romanian period drama that imagines a trek upon this thin stretch of dirt as a running metaphor for the slow crawl of human progress.
Greetings to the Ancestors builds a peculiar aura less reducible to the cumulative effect of a series of art-house mannerisms.