As a corrective to a corrective, [siccer] utilizes choreographed movement, video installation, green screen, and stop-motion photography to plot paths by which Black performance can reject Western forms of classification without resolution—a state of continuous evolution and becoming.

The films of writer-director Alain Guiraudie—who exploded on the international scene with his 2013 feature Stranger by the Lake—take us to a place out of time, roughly reflecting the years of the filmmaker’s coming of age through his maturity without

In addition to the art fairs—Felix, The Other Art Fair, Frieze Los Angeles, and newcomer Post-Fair—local institutions, galleries, and alternative art spaces are presenting a wealth of special events, programs, and exhibitions.

MARIA finds the soprano Maria Callas in the last week of her life, stalking her grand Paris apartment, dressed to the nines, humoring her butler and housemaid, hoarding and abusing Mandrax. Haunted by her final public performance three years prior, she

In one of the most poignant scenes from her debut documentary A FAMILY, writer Christine Angot looks at a black and white photograph of herself as a teenager. “I remember this photo, this moment in my life. I wasn’t in

EMILIA PÉREZ is a sui generis achievement, an uncanny blend of crime thriller and full-blown musical that rarely devolves into camp. The song and dance numbers appear as integral parts of a whole rather than mere sketches. Performing original compositions

With their original story THE BALCONETTES—a blend of farce, gender-politics, and full blown gore—filmmakers Noémie Merlant and Céline Sciamma have conjured the perfect comedic horror confection for a Halloween night screening at The American French Film Festival (TAFFF).

Writer-director Subhadra Mahajan presents her feature debut SECOND CHANCE—starring Dheera Johnson—on the closing day of AFI Fest 2024. Both will be on hand for a post-screening conversation.

Johan Grimonprez’s remarkable new film SOUNDTRACK TO A COUP D’ETAT is a vividly expressionistic overview of the early years of African autonomy and the birth of international Black Power. Interpolating texts, photographs, audiovisual clips, and performances by jazz giants, this

Shot in secret and made under extreme duress—its creator hit with the announcement of a prison and flogging sentence during its very production—THE SEED OF THE SACRED FIG has, in a sense, escaped the shackles of its context and is