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Pina Returns to Brooklyn — Modern dance luminary Pina Bausch and her stalwart company of exceptional dancers, Tanztheater Wuppertal, made their New York debut in 1984 with the now-iconic double bill of Café Müller, a melancholic fever dream in which the dreamer, a sleepwalking woman, is trapped inside a congested, monochromatic restaurant, and The Rite of Spring, a voracious reinterpretation of Stravinsky’s original ballet, one that covers the stage in soil and sees its...
Glory is Fleeting, Obscurity is Forever — Bertrand Bonello, coming off his hyper-stylish Yves Saint Laurent biopic, presents Nocturama (2016), a provocative, hauntingly elegant portrait of terrorism in contemporary Paris. A group of young multiracial subversives commit a series of frighteningly calculated terror attacks under no clear ideology, symbolized by their torching of a Joan of Arc statue. Class differences aside, they’re of the same generation and similarly disgruntled, although it’s ambiguous who or what...
Maggie Rogers: Two Nights Only — The New York-based singer-songwriter burst into the cultural consciousness with her ethereal synth-folk single, “Alaska,” after astonishing Pharrell Williams with it during an NYU master class. When a clip of this moment—one featuring creative intimacy between a promising newcomer and a visibly moved, venerable icon of the industry—was posted online, it quickly went viral, garnering hundreds of thousands of views. While her roots are in folk music, Rogers’...
After a long run—and a Pulitzer Prize win—with The Boston Globe, and a four-year stint working for Bill Simmons at Grantland (RIP), Wesley Morris made the jump in 2015 to The New York Times, leaving full-time film criticism in the dust. As a critic-at-large for the Times, Morris weighs in on anything from the Art, Music, and Television worlds, with anything in-between fair game as well (film, of course, remains mixed in). Last year, Morris...

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