In “Fairfax Avenue,” Janet Leigh plays a diva who is writing her memoirs for the Jewish Daily Forward.
1940s Jews are rounded up alongside brown-skinned refugees, the latter-day French police essentially doing the bidding of yesteryear’s Nazis
“American Dharma” presents the same difficulties as following up a film like “Borat”: once people know your game, it’s harder to punk them.
A filmmaker who discovered his Jewish ancestry only in adulthood, Truffaut here recalls Primo Levi.
According to his admirers, Blecher was a hidden genius of modernist literature, another lost Kafka scattered in the wreckage of 20th century Europe.
“I think if you would say one thing about Stanley’s Jewishness, it was that it was entirely secular.”
“I was like, ‘What do you mean? Am I Jewish? What does that mean? Why didn’t you say that before?’”
Everyone from the French communists to the Gestapo decried the film.
“Though still largely unfamiliar to American audiences, Argentina has become a fertile ground for contemporary cinema.”
Alex Ross Perry’s “Golden Exits” zeroes in on life in Brooklyn — but is it too Brooklyn-y even for Brooklynites?