Bruce says: “Billo (Thierno Thiam), a young man from Senegal, has wanted to be a fashion designer since he was a small child put to work in his uncle’s garment business. He and his mother have always been the black
Bruce says: “Few artists have the integrity of Alice Neel. Neel viewed painting as a privilege and an obsession. ‘I had to paint,’ she would say. While her contemporaries reveled in the downtown abstract expressionist art scene, Alice remained outside
Beth C says: “This must be the first time I’ve ever favorably rated a film that got a 48 on METACRITIC. Usually they love a film that I hated but this time it’s the other way around. I found it
Beth says: “This was a Rumanian film about a small town TV station owner/call-in show host who decides to mark the 16th anniversary of the Communist overthrow by having a special show, in which he asks two men to debate
Michael says: “In the tradition of feel-good films like BEND IT LIKE BECKHAM or BILLY ELLIOT combined, WONDROUS OBLIVION shows us our collective prejudices but allows us to overcome them in a slightly formulaic, but ultimately more successful film than
Bruce says: “Henry Geldzahler was an anomaly – a gay man often traveling in circles of predominately straight artists who liked to hang out at the famed Cedar Tavern in Greenwich Village; a curator of contemporary art for a museum
Bruce says: “Wetlands used to be about twenty blocks from where I live and I had never heard of it. The reason for that is pretty clear. Some big names played at Wetlands before becoming famous – Dave Matthews, Phish,
Chris says: “I’ve been wracking my brain trying to think of exceptional lead actresses to nominate this year. Just in time, Felicity Huffman slaughters any potential competition in a brave, absorbing turn as Bree, a 40-ish pre-operative man-to-woman transsexual. “One
Beth says: “The latest from Korea’s Kim Ki-duk. A woman undergoes secret cosmetic surgery then reappears as a new woman who romances her boyfriend – is it the ultimate sacrifice, to make yourself anew for love, or the ultimate test,
Michael says: “French cinema has been delving into such societal issues as traditional home and work life in recent years in such films as Laurent Cantet’s L’EMPLOI DU TEMPS and HUMAN RESOURCES. Now, in his bold directorial debut, Robin Campillo,