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Alexander Sokurov

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Music: Converge

Converge go back to basics

For most Bostonians of a certain age, Converge's Jane Doe (2001) is always going to be "that" record. But sentimentality aside, the metal/hardcore quartet's latest, All We Love We Leave Behind — out Tuesday on Epitaph — bangs right up against it.

By JANSSEN MCCORMICK  |  October 05, 2012
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A world of cinema

The 13th Maine International Film Festival begins in Waterville next Friday, and along with the usual unusual array of (political, music, and eco-)documentaries, Amerindies, classic and foreign films, and a special night at the drive-in, MIFF has a coupl
Young filmmakers shine at this year's Maine International Film Festival
By CHRISTOPHER GRAY  |  July 02, 2010
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Cinema paradisos

Here's the dilemma: you love movies, but you also love the idea of taking a vacation to one of the many inviting resorts that New England has to offer — the beaches of Cape Cod or the Islands, picturesque towns in Maine or Rhode Island, or even the cultu
As Hollywood's summer fare goes cold, local film festivals heat up
By PETER KEOUGH  |  June 18, 2010
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Review: The Sun

No sun is in sight in the beginning of Aleksandr Sokurov’s look at the last days of divinity for Emperor Hirohito.
The shades close for  Emperor Hirohito
By PETER KEOUGH  |  March 26, 2010
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Camera obscura

An acquired taste in French cinema, Philippe Grandrieux is an abstractionist who does narrative features, a post-punk artiste as comfortable making Marilyn Manson music videos as he is war-zone documentaries. But his three major features — which the Ha
Philippe Grandrieux's loaded minimalism
By MICHAEL ATKINSON  |  February 19, 2010
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Dream catcher

Karen Shakhnazarov at the MFA
Karen Shakhnazarov at the MFA
By MICHAEL ATKINSON  |  November 25, 2008


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Elegy of Life. Rostropovich. Visnevskaya

Sokurov makes his position clear: these are true Russian patriots.
A great and lasting love story
By GERALD PEARY  |  August 13, 2008
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Aleksandra

Aleksandr Sokurov’s new reverie takes up the themes of militarism, family turmoil, and weird eroticism he explored in such previous films as Father and Son .
A reverie of militarism, family turmoil, and weird eroticism
By PETER KEOUGH  |  June 17, 2008
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Rain man

Let’s take stock of Béla Tarr, the great Hungarian dyspeptic, and maybe the most famous and revered international film titan to have been so pitifully screened in American theaters that his public profile here is tantamount to an embargo.
The lingering gaze of Béla Tarr at the HFA
By MICHAEL ATKINSON  |  January 10, 2007
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Fissionable material

The Iranian masters upon whom we’ve come to depend seem for the moment to be indulging in their global fame.
Gauging the new wave at the Festival of Films from Iran
By MICHAEL ATKINSON  |  November 10, 2006
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Shaggy-dog stories

A close-up of a side of beef last inspected in 1965 takes pride of place at the start of Ilya Khrzhanovsky’s bold, weird, overwrought first feature, 4 .
Ilya Khrzhanovsky’s 4 on the floor
By PETER KEOUGH  |  August 07, 2006