An intricately mosaicked portrait of nonagenarian artist Ram Kumar at home and in the studio. With short Chitrashala, which brings to life a series of painted tableaus in a former palace.
“I coulda been a contender,” mumbles Marlon Brando in this brilliant drama set among the longshoremen and cops of an East Coast waterfront. Winner of eight Academy Awards including Best Picture, Best Director, Best Actor.
Dutta painstakingly recreates the eighteenth-century artist Nainsukh’s brilliant miniature paintings through sumptuous compositions set amid palace ruins. With Museum of Imagination: A Portrait in Absentia, on the great art historian B. N. Goswamy.
Max Nelson
Introduction by
Max Nelson’s writings on film and literature have appeared in n+1, The New Republic, The Threepenny Review, Film Comment, and the online edition of The New York Review of Books, where he is an editori
Bryan-Wilson introduces and signs her new book, Fray: Art and Textile Politics, and talks with art historian Richard Meyer and artist Angela Hennessey.
Dutta returns to northern India’s Kangra Valley to consider the region’s legends, folk tales, and rich visual arts through the creative process of the contemporary landscape painter Paramjit Singh. With Dutta’s dreamlike short To Be Continued.
Max Nelson
Introduction by
Max Nelson’s writings on film and literature have appeared in n+1, The New Republic, The Threepenny Review, Film Comment, and the online edition of The New York Review of Books, where he is an editori
Continuing the exploration begun in Nainsukh, three shorts—Gita Govinda, Field-Trip, and Scenes from a Sketchbook—see Dutta experimenting with radically different approaches to the master and his artistic descendants.
Robert Del Bontà
Introduction by
Robert Del Bontà is the guest curator of the BAMPFA exhibition Divine Visions, Earthly Pleasures: Five Hundred Years of Indian Painting.
The first in a series of New Narrative readings features local icons Bellamy and Killian, coeditors of Writers Who Love Too Much: New Narrative 1977–1997.
Marlon Brando’s first and only directorial effort, a Freudian Western loosely based on the legend of Billy the Kid. “Mean, moody, and magnificent” (Time Out).
A writer, a scientist, and their “stalker” guide venture into a mysterious wasteland known as the Zone. “A dense, complex, often contradictory, and endlessly pliable allegory about human consciousness” (Slant).