The Harvard Crimson sends two of its writers—Tianxing V. Lan '18 and Steven S.K. Hao '18—to the French Riviera to cover the Cannes Film Festival.
The Harvard Crimson discussed musical beginnings and inspirations with Ellen Kempner, the artist behind Palehound.
The Harvard Crimson sat down with BØRNS, who will be playing at Boston Calling, to talk about his plans for his upcoming tour and the ways his past performances have affected him.
The powerhouse performance of Chloe A. Brooks ’19 and a compelling ensemble blended witty humor, bouts of profound pain, and love, ultimately raising lingering questions about the multifaceted depths of the protagonist's mental illness.
Peter L. Galison, professor, museum director, and documentary filmmaker, explores the intersections of art and science.
Arts staff writers Steven S.K. Hao '18 and Tianxing V. Lan '18 recap screenings from the fourth day of the 2016 Cannes Film Festival.
Arts staff writers Steven S.K. Hao '18 and Tianxing V. Lan '18 recap screenings from the fifth day of the 2016 Cannes Film Festival.
Feel love for which you lose and pay and suffer. Feel love that strikes you as difficult and fraught. Love until it breaks you. Then love until someday, it finally puts you back together.
While its plot might be similar (albeit with much-needed contemporary twists) and its characters might possess the same names, it does not try to evoke poetic phrases or present mind-shattering commentary on the world. Instead, Sittenfeld has successfully crafted a fun, engaging romp whose greatest mission is to excite any Jane Austen fan.
If you’re expecting a daring and paradigm-shifting maverick of a film, this is not the movie for you. At the same time, the world needs films that simply make audiences laugh, and “The Nice Guys”—superbly executed and blissful to the point that it refuses to take even itself seriously—is just that.
Jeff Nichols's newest film—his second this year after “Midnight Special,” which debuted at the Berlin International Film Festival in February—is not so much about Loving v. Virginia as it is about the love story behind it. What results is among the director’s best work, beautifully acted and eloquently reticent.
“Mademoiselle (The Handmaiden)” impresses with its eye-catching cinematography, daring sex scenes, and plentiful plot twists. However, it fails in its most fundamental aspect: It possesses no genuine emotion or believable story. Beneath its beautiful veneer, the film is hollow.
“I, Daniel Blake,” simply shot and minimally edited, is drenched in visceral and unadulterated realism. It is also one of the most powerful and moving films in recent memory.
In “Uchenik (The Student),” Russian director Kirill Serebrennikov paints a haunting picture of a student’s violent descent into religious fanaticism and the horrific consequences that follow. But “The Student” is not a cautionary tale against piety—it is an admonition of obsession, and a powerful one at that.
“The BFG” is a charming and captivating spectacle with strong performances to boot, but unfortunately it is unable to strike a balance between unadulterated fantasy and computer-generated wonder.
Instead of telling a story, "American Honey" tells of life itself.
If every Harvard student were required to watch Alejandro Jodorowsky's “Endless Poetry,” one imagines that the number of students pursuing art might triple.
Cannes is never only about films. It's also about celebrities showing off the new fashion trends up north in Paris, millionaires hosting wild parties along the beach, businessmen making deals with artists, and actor- and actress-wannabes wandering the streets vying for the attention of producers.
Maybe the film does provide a salve to all the problems in the world: “You’ll be surprised by how calm people get after their bellies are full, and how quickly you forget about 9/11 after you get laid.”