this new macbeth won some great reviews and talk of possible 0scar nominations for its leads, it was really seen as quite fine cinema. what s striking about this film is that it really turns shakespeare into something cinematic. it looks like a german expressionism film or something made by carl theodore dreyer, in the sense that you re looking at people s faces in this really striking detail up close, which is something that a lot of filmmakers, with shakespeare in general and with macbeth are afraid to do often with soliloquies, with the monologues, you hear them in voice over. and this really stays with the actors, it stays with the performances, and that s what drives the movie. more than just seeing macbeth, the new york film festival s opening night brought audiences thejoyous experience of connecting after tough pandemic times. we re all ready to be here and we re ready to be in the theatre together and have a communal experience. we need this. new york needs this film festiva
to rehearse it like a play, - to rehearse it like a play, well, we actually started working, fran and i amjoel, what the outcome of reading and sitting down and rehearsing it, but then the company rehearsed it for about a month before we started shooting. $5 it for about a month before we started shooting. started shooting. as the director started shooting. as the director of started shooting. as the director of the started shooting. as the director of the film - started shooting. as the i director of the film festival told me, audiences will find joel coen s macbeth faithful to shakespeare s original work. they will seattle but very much connects with and imbues closely to the language and the wording of the tragedy of macbeth, but it is refreshed in a certain way, refreshed with some of the people that are acting on screen, working behind the camera.- acting on screen, working behind the camera. with great reviews and behind the camera. with great reviews and talk behind t
In a short video interview filmed in 2015 after receiving a MacArthur Fellowship, New York City artist Nicole Eisenman said they typically have no idea what’s going to happen when they begin a new work: “Even if I do a preparatory sketch … it’s a.
Creative manifestation has often been a way of escaping from reality, imagining different places and worlds, transporting the observer, as much as the .
Singapore was also a hotbed of creativity in the Sixties, though its art scene at the time is sadly under-documented. “Several artists were experimental and bold and forced audiences to rethink their ideas and understanding of what art can or should be,” says Charmaine Toh, a curator at the National Gallery Singapore. Only recently did the gallery rediscover the first known examples of land art from the city a series of works by performance artist Tang Da Wu. One piece,
Gully Curtains, hadn’t been unpacked since the Eighties.
Wu was concerned to see Singapore’s landscape increasingly stripped of trees to build public housing. As a result of soil erosion, deep gullies scarred the land near his home. In response, he climbed into one of these muddy crevices and positioned seven pieces of cloth of different lengths inside it, adding jagged black marks indicating the depth of the ditch. He left the fabric there for three months, inviting nature to collaborate. The result was a