Alice G. Collins

Clifton Collins Jr. Runs for the Roses in Powerful Drama



Clifton Collins Jr. looking at the camera: Jockey


© TheWrap
Jockey

For the better part of the last 30 years, actor Clifton Collins Jr. has vigorously treated the entertainment industry to mostly supporting parts, but in “Jockey,” a drama about a man losing the ability to do what he loves most, he finally gets a lead role to match his aptitude for existential contemplation. You’ve certainly seen him before, but never quite like this.

Channeling his personal impressions as the son of a jockey, writer-director Clint Bentley makes his debut with a resplendent and touching character piece. Among movies dealing with men involved in physically demanding activities who are forced to change course, “Jockey” falls somewhere in between Chloé Zhao’s “The Rider” and Darren Aronofsky’s “The Wrestler,” with notes of the more recent “Sound of Metal.”

Bentley and his co-writer and producer Greg Kwedar first worked with Collins Jr. on the latter’s first feature as a director, “Transpecos,”

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‘it’s drama the pandemic can’t touch’

In the first lockdown, many noticed how the roar of traffic was replaced by birdsong. If the pandemic has given us a renewed appreciation for listening, then some of the UK’s leading theatre-makers are turning – or in many cases returning – to audio drama, and pushing the limits of the form. It helps that audio plays can be made quickly and relatively cheaply, incorporating topical issues. Previously staged productions are now being offered in audio form, too, the most recent of which is The Whip by the RSC. Is this all leading to a new golden age of audio drama or merely filling in for the “real thing”? And will we listen differently when we eventually return to auditoriums?

The playwright Simon Stephens says our theatrical tradition valorises listening above all else. “Samuel Pepys wrote about ‘hearing’ a new play at the Globe, not ‘watching’ it. There is

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‘Ma Belle, My Beauty’ Review: Can Three Be Company Once Again?

When Lane arrives at a train station in southern France in “Ma Belle, My Beauty,” she’s greeted by Fred. Clad in the casual uniform of late summer — shorts, sandals, a breezy cotton shirt — he gives her a little smile. Lane, on the other hand, looks from the start like something is weighing on her, and it’s not just her oversized backpack. “Do you think she’ll want to see me?” she asks, with a wary note and pensive brow. Turns out Fred is springing Lane on his wife in hopes of rekindling their threesome, not so much for himself as for wife Bertie.

While its polyamorous triangle might sound edgy to some, first-time feature director Marion Hill’s romantic drama — which had its world premiere at the Sundance film festival — was in line with other 2021 Sundance selections that depict underrepresented characters and their experiences by way of

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Sarah Meister, MoMA Photography Curator, Departs to Lead Aperture Foundation

Sarah Meister, a longtime photography curator at New York’s Museum of Modern Art, has been tapped to lead the Aperture Foundation, the storied photography nonprofit. The appointment comes after a year-long search to replace executive director Chris Boot, who after ten years at the helm is relocating to his native England.

Since its 1952 founding in San Francisco by eminent photographers including Ansel Adams, Dorothea Lange, and Minor White, Aperture has been a major force in shaping discourse in the field, currently publishing monographs and a quarterly magazine and programming events and exhibitions devoted to the medium. In addition to overseeing these, Meister will help find a new physical headquarters for the company, which prior to the pandemic maintained an exhibition space in Chelsea.

“Aperture’s publishing program, meaning their books and magazine, are central to anyone thinking about photography today,” Meister told the New York Times. “My whole

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