One of the key moments from Lee Chang-dong‘s last film, 2018’s “Burning,” still glows bright in the memory. A girl mimes eating a tangerine, and explains the knack for making it convincing: don’t try to pretend there is a tangerine, try to forget there is not. It’s a little zen koan that rhymes imperfectly in
Well, just how good can grief be? That’s a question raised by Sara Bareilles‘ “Good Grief,” which, true to its promissory title, deals primarily with loss and death and the kind of tough stuff that folks in a marketing meeting might suggest slightly downplaying when one is releasing one’s first studio album in seven years.
I’m already growing hoarse in Golden Gate Park as Charli XCX takes the stage at a San Francisco music festival. The crowd starts jumping as a guitar hook hits, and I reluctantly comply, bouncing around on these aging knees as my chunky Puff necklace almost flies off the chain. During a lull in the set,
Language and sounds trigger idyllic childhood recollections in Meritxell Colell Aparicio’s deeply personal, contemplative drama “Far From the Trees,” a handsome reverie blending 4K, Super16mm and archival footage to capture the different textures of memory. Following a Mexican sound artist and her assistant-guide in the Peruvian Amazon as they record nature and indigenous languages, the
