“The Era of Manifestations” was a period from 1837 to the mid-1850s when Shakers came under a spiritual revival marked by visions and ecstatic experiences among the followers.
The feature-length documentary “Sembene!” tells the story of the “father of African cinema,” self-taught novelist and filmmaker Ousmane Sembéne, who fought a 50-year battle to give African stories to Africans.
Pittsfield was the town in which baseball first received legal recognition when, in 1791, the town fathers signed an ordinance banning it from being played in the town square.
The Osher Lifelong Learning Institute at Berkshire Community College (OLLI) will offer over a dozen courses this winter in Pittsfield, Lenox, and Great Barrington.
Donors who give gifts of $1,000 or more to the Community Development Corporation's affordable housing program will receive a 50 percent credit toward their Massachusetts state taxes.
The film reminds one of Woody Allen at his best -- profoundly urban and urbane with Greta Gerwig playing an even more quick-witted variation of Diane Keaton. I’m not saying Baumbach’s film is as good as 'Manhattan' or 'Annie Hall,' but it comes close.
Much of the talk is about celebrity and how it undermines the humanity of the writer, the gap between the writer’s persona and his reality, and the emptiness of pop culture, which Wallace also loves.
Like so many of Allen’s films over the last two decades, “Irrational Man” seems knocked out -- an incomplete draft for a film rather than a fully realized work.
The evening began with a historical review of how Richard Stanley started the Triplex cinema, searching for a "heart space" for Great Barrington. I have always maintained that a movie theatre is key to rejuvenating a community.
In “While We’re Young” Baumbach has made a more mainstream comedy. It’s one that displays his keen insight into the comic/pathetic nature of human behavior, and a social intelligence that captures the absurdities and pain of the generational divide.
What the film has conjured up is a splendid caricature. Timothy Spall plays Turner as a ruddy, bristled, open-pored brute and grunts his way through the movie, offering contortions of face and body that by some acting alchemy are not only persuasive but strangely compelling.
Kyle has no doubt that he is fighting for both his country and his notion of God and for protecting his brother soldiers. He manifests almost no guilt about what he has done, though one knows that among his victims there are innocents as well as genuine terrorists.
