Film

Santa Barbara Film Festival To Open With Emilio Estevez’s ‘The Public’

Bruce Haring
Deadline Hollywood
'The Public' follows a group of homeless library patrons, who, after learning that emergency shelters are at capacity during a brutal Midwestern cold front, refuse to leave Cincinnati’s downtown public library at closing. What begins as a nonviolent Occupy sit-in and ragtag act of civil disobedience quickly escalates into a stand-off with local riot police, a no-nonsense crisis negotiator, and a savvy DA with lofty political ambitions.

Acting Natural

J. Hoberman
The New York Review of Books
The camera, just by its presence, altered human behavior. The motion picture camera changed the nature of acting. Among other things, it created that apparent oxymoron, the non-actor, the subject of an unusually rich and stimulating series now at the Film Society of Lincoln Center entitled "The Non-Actor".

We Get It. It’s Harvey Weinstein’s News Cycle. But What About Our Black Girls?

Ida Harris
The Root
Apparently, the victimization of young black girls is not newsworthy enough for the mass media or the court of public opinion to be engrossed or enraged at Weinstein levels. Both treat the sexual assault of black girls as if it were hardly news at all. The predatory sexualization of young black girls is so ubiquitous, it is damn near an accepted social and cultural norm.

Faces Places - Agnès Varda’s Double Portrait

Patricia Storace
The New York Review of Books
Faces Places (Visages Villages in French) is an unexpected—and perhaps final—gift from the visionary eighty-nine-year-old director Agnès Varda. Varda had previously announced that her 2008 documentary self-portrait, The Beaches of Agnès, would be her last film, doubting that she had the physical strength to undertake another full-length feature. But chance, which Varda has often acknowledged as her best assistant, intervened; the making of Faces Places is the proof.

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