Ask any working actor today in the Hindi film industry, and chances are they’ll cite Shabana Azmi as an inspiration. Over a career of 160-plus films that began in 1974, not to mention a record five National Film Awards (India’s equivalent of the Oscars; the most won by any Indian actress), Azmi has demonstrated an

From practically the moment that it first hit theaters in June of 1977, “Exorcist II: The Heretic,” John Boorman’s follow-up to William Friedkin’s enormously successful 1973 adaptation of William Peter Blatty’s best-seller, has been written off as one of the biggest and most baffling disasters in Hollywood history.  In many ways, the virulence it received

Bold. Radical. Urgent. Those words could describe the last few years the Locarno Film Festival has screened its daring classic retrospectives. But they’ve never been felt more than in the latest edition curated by filmmaker, writer, and programmer Ehsan Khoshbakht. Last year’s postwar Britain program included 45 films made in England between 1945 and 1960.

Though I have left Locarno, I haven’t finished writing about its many idiosyncratic offerings. The festival today announced its awards, including the recipient of the Golden Leopard (more on that in my final dispatch). And while I’m thrilled by many of the winners, in this dispatch I’d like to highlight a couple of films that

In these dispatches I often talk about themes naturally arising or not arising at all between films. Well, the throughline between these trio of titles couldn’t be clearer: They all thoroughly contemplate death and mortality. Two of the films are from veterans while a third one is a filmmaker’s feature directorial debut—though to be sure

Audience members attending the main stage performance on closing night of the Atlanta Black Theatre Festival are in for a serious treat. At 7 pm on Saturday, September 5th, Golden Globe-winning actress, director, and playwright Regina Taylor will perform her own one-woman show, Exhibit, at the festival, aiming not only to involve theatergoers directly in

In this first dispatch from Locarno is a trio of films one might call “elusive.” They all capture weighty, human subjects: sensuality, war, and disaster—with a visual and sonic approach that’s difficult to grasp and, sometimes, even harder to love. They are all formally provocative works, made to push the audience to its breaking point.

Almost exactly 13 years ago, when I was still a freelancer for this site, I wrote a piece about how FX’s hit “It’s Always Sunny in Philadelphia” owed a great debt to “Seinfeld” in its comedic embrace of characters that could politely be called misanthropic. The quartet of characters at the center of one of

Rarely has an animated show felt more like an extension of its creator’s personality than Netflix’s “Alley Cats,” a Ricky Gervais production from top to fuzzy bottom. It’s a disheartening reminder of how far the once-creative star of “The Office” and “Extras” has fallen, becoming almost a parody of himself with his “edgy” humor and