#culturethefrontrow — Public Fediverse posts

The Hollow Trickery of “The Wizard of the Kremlin”

https://fed.brid.gy/r/https://www.newyorker.com/culture/the-front-row/the-hollow-trickery-of-the-wizard-of-the-kremlin

“Two Pianos” Turns Modern Melodrama Old-Fashioned

https://fed.brid.gy/r/https://www.newyorker.com/culture/the-front-row/two-pianos-turns-modern-melodrama-old-fashioned

“Michael,” Reviewed: A Sanitized Bio-Pic That’s All Business

https://fed.brid.gy/r/https://www.newyorker.com/culture/the-front-row/michael-reviewed-a-sanitized-bio-pic-thats-all-business

The History of Jazz Has Instantly Expanded

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/the-history-of-jazz-has-instantly-expanded

As Movies Adapt to the Times, the Oscars Can Only Look On

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/as-movies-adapt-to-the-times-the-oscars-can-only-look-on

“What Does That Nature Say to You”: Don’t Meet the Parents

https://fed.brid.gy/r/https://www.newyorker.com/culture/the-front-row/what-does-that-nature-say-to-you-dont-meet-the-parents

Nonprofessional Actors Are the Heart of the Movies

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/nonprofessional-actors-are-the-heart-of-the-movies

Remembering the Filmmaker Frederick Wiseman

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/why-frederick-wiseman-was-the-greatest-documentary-filmmaker-ever

“The President’s Cake” Movie Review: A Neorealist Treasure from Iraq

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/the-presidents-cake-is-a-neorealist-treasure-from-iraq

Sundance Is a Feast of World Cinema

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/sundance-is-a-feast-of-world-cinema

The 2026 Oscar Nominations and What Should Have Been Picked

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/the-2026-oscar-nominations-and-what-should-have-been-picked

“The Chronology of Water” Is an Extraordinary Directorial Début

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/the-chronology-of-water-is-an-extraordinary-directorial-debut

“Dead Man’s Wire” Is a Tangle of Loose Threads

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/dead-mans-wire-is-a-tangle-of-loose-threads

“Father Mother Sister Brother” Explores the Mysteries of Family Life

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/father-mother-sister-brother-explores-the-mysteries-of-family-life

What the Warner Bros. Sale Means for the Art of Movies

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/what-the-warner-bros-sale-means-for-the-art-of-movies

The Best Films of 2025

https://web.brid.gy/r/https://www.newyorker.com/culture/2025-in-review/the-best-films-of-2025

The Joyful Mythology of “Nouvelle Vague”

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/the-joyful-mythology-of-nouvelle-vague

“Springsteen: Deliver Me from Nowhere” Tamps the Boss Down

https://web.brid.gy/r/https://www.newyorker.com/culture/the-front-row/springsteen-deliver-me-from-nowhere-tamps-the-boss-down