Truth is not singular — we have different ways of seeing things. Truth exists in fiction and truth exists in non-fiction. Anyone who sees a Michael Moore film and thinks they’re getting an absolute, objective truth is sadly mistaken. They should know that based on the conventions and the style of filmmaking — he’s making an entertaining movie. And as such, he’s going to take a certain license. I’m talking about art here, I’m not talking about history or journalism. I think you’re confusing journalism with filmmaking. I felt liberated by the fact that I was approaching this as mythology. I don’t think anyone can look at this movie and not get that — it’s animated, for Christ’s sake. I think there’s a lot you can learn about Chicago from this film, but it’s certainly not something objective — I don’t believe, as an artist, in any objectivity in my world.
I think that part of the problem with the way the country’s going is that people no longer believe in objectivity. Isn’t that kind of a dangerous position, because one of the things that got us into this current war was that we couldn’t make the distinction between fact and fiction?
I don’t know why we’re talking about objectivity in cinema. I mean, I just don’t understand that.
There is a tradition in documentary filmmaking that is journalistic and aspires to objectivity . . .
Well, I’ve been trying to smash that belief for the last 10 years. That might have been the case once, but that’s not where we’re going now.
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Face off, Review: The Boys Are Back, City of Angels at Lyric Music Theater, More
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If you were an ordinary Catholic boy in parochial school, giving nuns as hard a time as you were getting, you probably ended up with the usual stories of ruler-rapped knuckles. If you grew up to be talented playwright John Patrick Shanley, you ended up writing Doubt: A Parable , a fascinating exploration of the quicksand of certainty.
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It's 1940s Hollywood, and we swerve between Stine's reality and Stone's parallel one, in City of Angels , a musical comedy-cum-musical noir , directed by Mary Meserve for South Portland's Lyric Music Theater.
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Delroy Lindo is only 6’3”, but he plays a lot bigger on screen.
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“Why Aren’t There More Women Film Critics?” was the subject of a January 31 forum at the Boston Public Library, and nobody on our panel came up with much of an answer.
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Matteo Garrone's Gomorrah is a jolting and utterly original take on the gangster movie.
- Review: Whatever Works
It happens to everyone: getting old means getting more annoying. Those endearing little quirks degenerate into insufferable pathologies, the funny stories become less funny with repetition, and in general the same old self-depreciating ironies and obsessive-compulsive hedges against mortality stop working.
- Review: Gentlemen Broncos
Having peaked with his debut, Napoleon Dynamite , Jared Hess has settled into being a family-friendly John Waters — which is redundant, since Waters is already rated PG-13.
- World without end
By the time it got to the anthropomorphic bunnies acting out a sit-com to a laugh track (or are they donkeys? subscribe to www.davidlynch.com to learn more), I knew that Inland Empire was David Lynch at his most seductive and a film I’d be thinking about for a lot more than the rest of the afternoon. Watch the trailer for Inland Empire (YouTube) Say ‘cheese’: Milking Laura Dern’s performance. By Peter Keough
- Too close for comfort?
The cast and crew of V for Vendetta speaks; you download.
- One sings, one doesn’t
This year, at least one element in “Boston Film Festival” is no longer true.
- Less

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