Unlike Her Music ‘I Am: Céline Dion’ Is Not a Mournful Drama
Unlike how her subject’s music can be, Irene Taylor’s biography I Am: Céline Dion is not a mournful drama. That doesn’t mean it’s easy.
Unlike how her subject’s music can be, Irene Taylor’s biography I Am: Céline Dion is not a mournful drama. That doesn’t mean it’s easy.
Thriller short film The White Rabbit ensnares viewers with a joke, a nightmare, and an illusion in a sly interplay that evokes Hitchcock’s Rear Window.
While navigating many odd circumstances, Lindsey Drager’s The Avian Hourglass provides a continuous stream of consciousness; scientific, literary, and philosophical.
From marketing manipulation to all-out psychological warfare, Stories Are Weapons clarifies how our world – and worldview – is seldom our own.
In adapting the alternative history The Underground Railroad, Barry Jenkins and his crew made cinema – a medium with origins in white supremacy – work for them.
With its deft layering of words, its samples, and how it articulates sound, Questlove’s Hip-Hop Is History is like De La Soul’s excellent album 3 Feet High and Rising.
In her dance history book The Swans of Harlem, author Karen Valby structures a magnificent, wide-ranging, complex narrative that’s both engaging and emotional.
Nothing But a Man is about battling discrimination on an uneven playing field but also about tenaciously preserving friendships and families.
Robyn Hitchcock’s memoir 1967 taps into the music high that untethered the restraints of boarding school and shaped his life and music for eternity.
With horror film I Saw the TV Glow, Jane Schoenbrun creates an eerie, emotional journey into the intersection of identity and popular culture.
In Wandering Stars masterful storyteller Tommy Orange shifts our lens from historically imposed assimilation to contemporary cultural reclamation.
With Unsuitable, lesbian fashion historian Eleanor Medhurst stitches fashion, gender, and sexuality into a perfectly tailored, comprehensive and inclusive book.