Centered around a riveting 50-minute custody hearing shot in real time, “We Believe You” is the debut feature from the writing and directing team Charlotte Devillers and Arnaud Dufeys. Taking on a Rashomon effect as the estranged parents of two

It’s family day at the Framingham art museum: Mom (Alana Haim), dad (Josh O’Connor), chatty precocious son Carl (Sterling Thompson) and his much quieter brother Tommy (Jasper Thompson). So far, so good, except dad is casing the joint. So begins

A note-perfect transference from page to screen, Oliver Hermanus’s new film “The History of Sound” concentrates the promise of its title into an aching minor key.

The fall dance season gets off to a rousing start with the West Coast premiere of I AM, the acclaimed new work by Camille A. Brown & Dancers—a 60-minute blast from the future that celebrates exuberant self-ownership as a means

Danced by Agami and a new iteration of ate9 made up of three male Batsheva veterans, “Soon After” unfolds with a magnetic camp extravagance that decentralizes our focus as it grows into a spectacle of “happening.”

With comedic precision, SUSPENDED TIME turns the stasis of the recent pandemic years into a time machine, detailing the customs, passions, and neuroses of a pair of brothers quarantined in semi-rural isolation.

“The show was about relationships, reflected in the spaces between the sculptures. The space between people is the space of relationship. This is where emotion evolves; it’s a magnetized and energetic space.” — Anna Sew Hoy

Josh—a queer, alcoholic, and very erudite NYU college student—has passed out on the beach again. Upon coming to, he thinks he’s on the Atlantic, but soon realizes he’s back home in Colorado. Except he has no memory of how he

“The exhibition’s selection of works, ranging from sculpture and poetry to installation and architectural gestures, makes it a place to listen and interact, a space where water is not just shown, but expresses itself—with its voice, its physical presence, its

When the curtain rises on “Rigoletto” at LA Opera, the audience is confronted by a surreal and unsettling tableau: around thirty masked men in suits, standing in tight formation, their faces obscured by animal visages and commedia dell’arte grotesques, stare back at