Bestiaire’s place in the filmmaker’s oeuvre and anthropomorphic conceptions.
Doug Saunders’s new book fights fears about “the Islamization of America” with historical and sociological fact, but slippery terminology gets in the way.
In Berlin, the photographer’s fascination with separation and unity has unexpected resonance.
A decade after John Reed’s Orwell parody was released, it still feels current, and, perhaps, even more relevant than before.
At the Joan B Mirviss Gallery’s The French Connection, Japanese women ceramists breathe new life and a welcome strangeness into a traditional artform.
Chinese artist Ai Weiwei is now as notorious for his political actions as for his work. Alison Klayman’s new documentary, Ai Weiwei: Never Sorry, shows that his originality comes precisely from combining the two.
Beasts of the Southern Wild‘s dark current.
Leigh Stein’s new collection is captivating even for the most ardent of poetry-haters.
The subtle ambivalence of Sarah Polley’s Take This Waltz.
Something From Nothing: The Art of Rap explores hip hop’s past but skims over important questions about its present.
A writer raised on feminist fairy tales reflects on Brave and Bloody and having it all.
In the 40Owls Gallery’s “Distinct Ethnic Magical Tales” exhibition, artists explore colonization, pop cultural iconography, and cultural ownership
A fabulist film highlights the absurdity of breakneck-paced development, and its relevance inside and outside of China.
The Cannes Jury Prize-winning film Polisse has striking similarities to Law & Order.
‘Murder is My Business,’ an exhibition of Weegee’s gritty photographs, opens at the International Center for Photography.
In North Korea, the hunger games have been raging for quite some time.