Confronting the violent politics of a homeland.
Radically imagined safe spaces for black queerness.
The insurgent Argentine documentarian’s retrospective screens at Anthology Film Archives from February 22 through 28.
Photographic portraits that reveal and conceal.
Nuanced identity and adolescent angst from Greenland.
A selection of recently reissued music by Takehisa Kosugi, Roger Doyle, Laurie Spiegel, Luciano Cilio, and Dennis Weise.
A newly reconstructed “opera for television.”
The revealing/concealing nature of self-portraiture.
Sometimes the sky is enough.
Writing satire in the Trump era.
Stories full of weird.
The three-part epic brings to life an adolescence informed by music as a gateway into a powerful, assertive selfhood.
A pose recurs in Christos Ikonomou’s Good Will Come From the Sea: one character after another finds themselves on their knees, waiting. For the dawn, for mercy, for love.
Invited to examine the human geography of lower Louisiana for the 2017 Prospect New Orleans triennial, Jeff Whetstone set off for the batture, a patch of land that separates the Mississippi from the city’s levee.
For Marwa Helal and me, the histories of our two countries—Egypt and Sudan—are inextricably linked, our shared Nile both the most obvious and fertile metaphor.
From Andrei Tarkovsky to Lucrecia Martel, Peter Hutton to Nathaniel Dorsky, entire aesthetic philosophies, genres, and approaches to filmmaking have been rooted in the elements.
It’s rare that as a writer I am left speechless by a performance. Writing becomes like swimming for the first time: relearning how to breathe. What can abandonment by words afford a writer besides drowning? Perhaps a lesson in listening.
On August 16, the Hikianalia, a seventy-two-foot dual-hulled Polynesian voyaging canoe from Hawaii set out across the Pacific for California, powered by the winds, tides, two solar-charged propellers (for emergencies), and a thirteen-person crew.
An exhibition looks at historical conceptions of nature in the United States.