This year’s production of ‘Parsifal’ at Bayreuther Festspiele in Germany stays alive only by Wagner’s music.
Justice Ruth Bader Ginsburg brought humor and drama to a production of “Merchant of Venice” set in the Venetian ghetto. Would that the same were true of the production itself, says critic A.J. Goldmann.
At the age of 80, director William Friedkin (“The French Connection,” “To Live and Die in LA) breaks out his shtick to discuss his life from Hebrew School to Hollywood. And the story of one elusive hamburger.
A bevy of new Israeli features debuted at this year’s Cannes Film Festival including a shiva air guitar comedy (yes, you read that night) directed by Asaph Polonsky. A.J. Goldmann gives us the highlights.
Still searching for signs of Jewish life in the Cannes Film Festival, our man in France checks out the new Jim Jarmusch/Iggy Pop joint and arrives too late for Alejandro Jodorowsky.
Last year, the Holocaust film “Son of Saul” made a major impact at Cannes. This year, the Jewish flavor is harder to discern — though films by Olivier Assayas, Woody Allen and Ken Loach have caught our critic’s eye.
Since “The Diary of a Young Girl” was published in 1947, it has sold more than 30 million copies worldwide. But there has never been a truly definitive film version of it. Until now.
Though attendance was bigger than ever at the Berlin Film Festival, the competition was the dullest in a decade, according to Goldmann. A couple of new films from Israel were among the highlights.
The documentary program provides some of the Berlin Film Festival’s greatest highlights this year — but there are some misfires as well. A.J. Goldmann tries to separate the milk from the duds.
The 66th Berlin International Film Festival features a plethora of Jewish and Israeli films. Notable among them: Tomer Heymann’s “Who’s Gonna Love Me Now” about an HIV-positive Israeli reconciling with his religious family.