Portside

So exuberant and full of life that it would convince you movies were back even if they hadn’t gone anywhere, “In the Heights” is the kind of electrifying theatrical experience that people have been waxing nostalgic about since the pandemic began.

Socioeconomic divisions meant that a lot of women couldn’t afford to go out, or they had children and didn’t have the time to. So how they gathered was through food, and through community. Filmmakers Street and Rose explore the idea of queer food.

The comic’s series about addiction and relationships is both a tender exploration of trauma, and extraordinarily funny. This is TV that gives you a crash course in empathy

Rebecca Foust’s poem “Crack” speaks to vulnerability—"just a nick/to break the skin”—that encapsulates the era of pandemic.

The journal’s intrepid book reviewer surveys a mélange of fall 2021 university and scholarly books on human origins and development, finding some surprising commonality in an otherwise often conflictual field.

Filmed in the 1950s, Vittorio De Seta's luminous shorts depicting the hardscrabble lives of fishermen, shepherds, peasants, and miners in rural Italy turn documentary into art film.

It’s generally illegal to sell prison-made goods across state lines. But since the 1930s, the law has included an exemption for agriculture.

The Spanish-language series, called “Somos.,” draws from Ginger Thompson’s 2017 ProPublica investigation and was written and produced by an almost entirely Mexican crew.

California poet Rebecca Foust addresses an accustomed high standard of living that we know is precarious, evanescent.

Portside typically aims at reviewing books offering a radical, cogent POV. This is not the case for the book here, a political slapdash whose trade-promoted author justifies if not glorifies mass slaughter in promoting war aims and imperial ventures.