Bounties on the mutineers demonstrate the limits of transparency.
Michael Cimino’s Heaven’s Gate, Monte Hellman’s Two-Lane Blacktop
The architecture of the new World Trade Center buildings emphasizes that their business is none of ours.
Joshua Oppenheimer’s The Act of Killing, Jem Cohen’s Museum Hours, Eliav Lilti’s Israel: A Home Movie, Jerry Bruckheimer’s Enemy of the State
Just as the Assange saga consumes too much of Alex Gibney’s film, so today’s Snowden obsession deflects attention away from our sprawling surveillance state.
How did a journalist whose career was devoted to exposing injustice end up writing a film like Zero Dark Thirty?
In her printmaking the artist searched for a constantly elusive vision.
The cameras no longer look at us because we’re famous; we’re famous because they look at us to death.
Why is Léon Krier defending anew the work of the Third Reich’s master builder?
Ralph Lemon’s Come Home Charley Patton