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Art Needs Faith

Tis the season of “The Artist”: On screen, in print, and on stage, the man of the hour is the creative genius, the absolutist, the martyr, the suffering sinner redeemed only when he gives himself away, lovingly and without reservations, to his art. Just ask Hollywood, which is all aflutter at . . . . Continue Reading »

Letters

I very much enjoyed Armin Rosen’s essay about the Soviet filmmaker Andrei Tarkovsky (“Tarkovksy’s Sublime Terror,” October 2023), but I’m afraid he has made an error of fact about Tarkovsky’s film Nostalghia. Rosen says the protagonist, Andrei Gorchakov, “swallows poison and then . . . . Continue Reading »

Briefly Noted

In The People’s Justice, Judge Amul Thapar adroitly assumes the role of storyteller to defend an influential and controversial jurist’s reputation. He recounts twelve prominent cases that have come before Justice Clarence Thomas during his thirty-two-year term on the Supreme Court. The book . . . . Continue Reading »

God and the Bomb

The best movie you’ll see this year—or, if I’m being honest, this decade—is about two men having a protracted argument about God. If you merely watch the trailer, you may walk away with the erroneous impression that Oppenheimer, Christopher Nolan’s magnum opus, is about the . . . . Continue Reading »

Tarkovsky’s Sublime Terror

Andrei rublev, the masterpiece of the great Soviet filmmaker Andrei Tarkovsky, opens with a failed attempt to conquer God. A man attached to a hot-air balloon floats to the upper domes of an imposing church, the tallest structure that a mob of fifteenth-century monks and peasants will ever see in . . . . Continue Reading »

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