Theater director Ivo van Hove has made a habit of breaching borders.
Papusza gets a bit caught between its ethnographic aspirations, painting a people in thick brushstrokes that are rich on lore.
The genius of Richard Pryor can be summed up by the last lines in Live on the Sunset Strip.
A tour group passes behind a kitchen furniture setup. The guide says, “And here we have two dining room chairs and a table.”
Viewership is by nature bisexual.
If baseball is America’s pastime, then soccer is the world’s.
There’s a gravity to everything Ingrid Bergman says in this movie, and she has a grandeur that seems to come naturally, a statuesque hauteur.
The best thing about Renoir’s films is the continual sensation they give of life as theater, until theater feels like life.
Wild River is the most successful example of how Elia Kazan liked to contrast actors.
Binoche has descended on Brooklyn’s Academy of Music with a full-blown, Renaissance woman vengeance.
Dreyer was committed to the idea of romantic and sexual love between two people as the living embodiment of God on earth.
Even as the Oscar push for Revolutionary Road remains in full swing, Sam Mendes returns to his theater roots with his latest production of The Cherry Orchard.
The New World is a new watermark.