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Ross Douthat s conservative conservatism, a profile by Lydialyle Gibson

Photograph by Stu Rosner “It’s a strange moment to have written a book where part of the argument is that things are changing less than you think,” said Ross Douthat ’02 on a sunny weekday afternoon in July. He was sitting on the back deck of his home in New Haven, Connecticut, overlooking a profusion of ocean-blue hydrangeas and the patchwork of his neighborhood’s backyards: swing sets, flower beds, trees, fences. Like much of the country, the New York Times columnist had been holed up for months with his family, ever since the pandemic cut short the tour for his most recent book,

A year when how you watched mattered as much as what you watched

A year when how you watched mattered as much as what you watched
bostonglobe.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from bostonglobe.com Daily Mail and Mail on Sunday newspapers.

1972 Antiwar Documentary F T A Returns To Screens Almost 50 Years After It Was Pulled From Theaters

1972 Antiwar Documentary F T A Returns To Screens Almost 50 Years After It Was Pulled From Theaters
wbur.org - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from wbur.org Daily Mail and Mail on Sunday newspapers.

Things aren t necessarily the way they look in Keep an Eye Out

Things aren’t necessarily the way they look in ‘Keep an Eye Out’ Ty Burr © Dekanalog Benoît Poelvoorde (right) and Grégoire Ludig in Keep an Eye Out. The films of France’s Quentin Dupieux are short and blissfully strange: Their subjects include a homicidal automobile tire (“Rubber,” 2010) and a fringed leather jacket with a God complex (“Deerskin,” 2019). They operate according to their own interior logic and they don’t care if you follow along, which makes them either maddeningly obtuse or good Dada fun, depending on your tastes. “Keep an Eye Out,” made before “Deerskin” but arriving now in a virtual screening at the Boston French Film Festival, the Brattle Theatre, and on demand, is Dupieux’s most pared-down effort yet a slapstick Kafkaesque comedy of bureaucracy and bloodshed.

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