Robert Bresson’s The Devil, Probably; Maurice Pilat’s Police; Leo McCary’s My Son John.

A Russian novelist’s fight, in life and art, to see the world afresh in all its cruelty and splendor.

Amos Oz and Fania Oz-Salzberger’s Jews and Words.

The film’s torture scenes do not excuse or glorify torture; they do something worse: draw the audience into accommodating it.

The well-known musician talks about the adoption ban, Pussy Riot and the future of the opposition movement.

Every musical note has life in it. For six decades the composer Elliott Carter imagined that life precisely.

Shawn Francis Peters’s The Catonsville Nine.

How working in hotels led Henri Matisse and Ian Wallace to rediscover the intoxicating purity of light.

Moussa Touré’s La Pirogue, Ruben Fleischer’s Gangster Squad