In many ways, Wong Kar-wai’s “In the Mood for Love” is the first real movie I’ve ever watched.
In brief glances and lovelorn sobs, “Portrait of a Lady on Fire” finds a passion that transcends time and burns brighter with each day.
Ekwa Msangi’s feature film, “Farewell Amor,” premiered at Sundance Film Festival Jan. 25.
Duke alumni made a splash at Sundance this year — many of the films in competition were acted, directed and produced by Duke graduates now working in the industry.
Among the canon of soft-rock singer-songwriters of the ‘60s and ‘70s, Carole King seems out of place.
On Feb. 10, at the Bernie Sanders rally in New Hampshire, The Strokes announced the upcoming (April 10, to be exact) arrival of their newest album, “The New Abnormal.”
Benedict Cumberbatch seems to be steadily making his way through the 20th century.
“The Painter and the Thief” follows the shocking meeting and budding friendship between an artist and the thief who stole her paintings.
The language of “optimization,” of constantly bettering ourselves as if we exist on a linear spectrum of quality, is, like Goop’s very existence, embedded in capitalism.
The Oscars are still very white and very male, but they feel bad about it, apparently.
About a minute into “Jojo Rabbit,” the film’s 10-year-old protagonist has a conversation with his imaginary friend — Adolf Hilter.
Filmmaker Zeina Durra returned to Sundance this year with her newest film “Luxor,” starring actors Andrea Risenbourgh and Karim Saleh.
Aneil Karia made his Sundance Film Festival debut with “Surge,” a psychological thriller that stars Ben Whishaw as Joseph, a troubled young man who lives an isolated life in London as an airport security officer.
Now that rap has overtaken rock as the most profitable genre, it is reasonable to view hip-hop as its own economy.