"Spaceman" has the pace and temperament of a film that has something to say beyond its plot but the execution of a Netflix original.
What do this year’s major award nominees tell us about the future of film and the Academy?
The choice by Glazer to make a Holocaust film about the family of one its most infamous orchestrators, rather than its victims, is as much a recognition of his inability to engage with the realities of Auschwitz as the Höss’ escape into their garden and playground pool. “The Zone of Interest” offers itself as a parable of the faults that plague us — a film as much about today as 1943.
“Transcendence + Immanence,” an exhibition by Chinese artist and critic DaoZi on display in the Duke Chapel from Oct. 20 to Nov. 26, explores places where the divine is found via ambitious exercises with color and form.
“Stranger Times” explores the childhood story of the Duffer Brothers (the creators of Netflix’s “Stranger Things”) in Durham, their career and the challenge of education in Durham during the pandemic.
“The Exorcist: Believer” asks interesting questions that it lacks the fortitude to answer.
In "Walk Up", a building acts as both a bridge beyond and above the self-centeredness of the lead character and a vessel for his worst qualities.
In “Lost in Translation” (2003), an eighteen-year-old Scarlett Johansson and mid-to-late career Bill Murray have a semi-platonic one-week fling in Japan that's influenced as much by director Sofia Coppola's relationship to her father as her crumbling marriage.
