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.
I have seen Scott Shepherd perform many times as a core member in two of my favorite New York theater companies—Elevator Repair Service and The Wooster Group.
Lawrence Chua speaks to the filmmaker about Thai history and its ghosts.
Since Victor Frankenstein first conjured the monster that assumed his surname in Mary Shelley’s novel Frankenstein, his harrowing creation has assumed countless incarnations.
There is something inexhaustible in Homer’s Odyssey that makes us want to go back to it, to the archetype of a hero’s going forth and arduous return, of bravery and cunning, and, finally, of the test of a wife’s fidelity.
Of all the Mexican writers of my generation, Sada is the one I most admire, for his highly rigorous technique, the unequaled density of his prose, his steel-solid aesthetic sensibility.
For his latest adaptation, a treatment of Flaubert’s 1874 novel about virtue and sin, Robert Wilson teamed up with Bernice Johnson Reagon, a teacher, scholar, activist, and Smithsonian curator emeritus as well as founder and co-director of Sweet Honey in the Rock, the long-standing African-American female a cappella group.
Forget Batman and Spider-man. If you’ve heard of R. Crumb, you may also be aware of Harvey Pekar. Before camcorders, before webcams, before nonstop reality TV there was Pekar and his homegrown autobiographical comic-book series American Splendor.
Even among that vibrant flock of downtown New York performer-playwrights (Wallace Shawn, Eric Bogosian, Holly Hughes), David Greenspan sticks out as a rare bird.
Personal Velocity, starring Kyra Sedwick, Parker Posey, and Fairuza Balk, is director/screenwriter Rebecca Miller’s depiction of three adult women trying to regain their lost selves.