The recent conclusion of the choreographer’s trilogy, Water Will (in Melody), employs mime, gothic imagery, and a Grimm tale, to consider entanglements of nature, the feminine, and blackness.
The Irish playwright on grief, adaptation, and the possibilities of form.
The emerging playwright takes on beauty standards and societal expectations.
Early Morning Opera brings the canonical essay to the stage.
A German play based on a French memoir reflects on the global Left’s abandonment of the working class—and finds additional significance in the Age of Trump.
Featuring selections by Jaime Manrique, David Grubbs, Molly Surno, Lynn Melnick, Lucio Pozzi, and more.
The filmmaker tracks the development of his research-based cinema from evocations of childhood memory to adaptations of Indian paintings and literature.
A Quiet Passion, Terence Davies’s biopic about the poet Emily Dickinson, faces a problem typical of movies seeking to recreate the life of a literary figure: how to accommodate film to language, and, in particular, to Dickinson’s dense, elliptical, and unconventionally punctuated and often abstract poetry.
“I asked my students for the image of the essence of tenderness. One girl brought in a small, silver plate with a bunch of grapes neatly laid out on it. When I noticed she had stripped the skin off the grapes, I got goose bumps.”
“I’m somewhere between Bresson, Godard, and the NBA.”
Romanian auteur Mungiu’s Beyond the Hills, which fuses naturalism with the escalating dramatic tension between two young women, won awards for best screenplay and best actress at Cannes.
Infinite Jest, David Foster Wallace’s monumental tome is performed over a period of 24 hours in ten different locations in Berlin.
Filmmaker Gary Tarn talks to Pamela Cohn about adapting Kahlil Gibran’s The Prophet into a stirring visual odyssey set in the local homes and streets of Beirut.
Members of the downtown theater company share their commonalities with Occupy Wall Street and ideas on alternate uses for plastic bags.