Suddenly there he was, shuffling to the podium: that familiar bald dome, those telltale glasses, the grumpy slouch we’d come to know and love, now stuffed inside a baggy suit that seemed to somehow fit perfectly, and now yelling about American politics instead of golf and wood stains.
The remarkable new documentary Afterward is a dissection of nothing less than the last century’s collective trauma of the Jewish people, and a sincere attempt to find its echo in the trauma of Israel’s sworn enemies.
Is The Marvelous Mrs. Maisel a very good Jewish show, or just a very Jewish show?
The sheer, jubilant force of Haddish’s personality allows her to plant her feet in two distinct cultures at once, without ever feeling out of place in either.
Leonard Cohen blended the sacred and the profane in his own search for a deeper meaning—finding truth in the Torah, yes, but also in sex, travel and the simple thrill of artistic creation.
Jojo Rabbit, which is shaping up to be easily the most divisive film of the awards season, shows us the Third Reich through the eyes of a child.
For a long time I’ve been trying to figure out why I love Noah Baumbach’s movies so much. And as a Jewish creative who often prefers the company of books and films to people, I see a little bit too much of myself in them, which is more worrisome than it is meaningful.
“I’ve often had access to ‘inside worlds,’ whether it’s media or wealth or celebrity, where I’ve then taken a critical perspective.”
If Call Me by Your Name, the bestselling 2007 romance novel by André Aciman, was an ode to the passions and discoveries of a first love, then Aciman’s new sequel, Find Me, asks us to believe in something much more perilous: second love.
A preview of some of the films from this year’s Chicago International Film Festival.