Emma Murphree

Predictably unpredictable, the festival’s 95-film lineup comprises names big, small and overall niche. This year, deputy arts editor Dominic Marziali and arts reporters Maida Suta, Emma Murphree and Piper Samuels covered the festival online and in person.

Chronologically charting the history of the beloved folk duo, Jonah Bobo and Brendan Jacob Smith (Simon and Garfunkel, respectively) portrayed their counterparts as faithfully as the show’s small rights licensing status would allow.

SZA’s interior battle feels decidedly of the moment, inflected by the murkiness of casual sex, the imperative for baseline levels of connection in a world where there seems to be a drought.

“The White Lotus” is tightly contained. Nothing gets pushed to the margins or tarnished by the tedium of polemic that so often afflicts other shows that set their ambitions similarly high.

“Three Thousand Years of Longing” may not be thematically fresh, but it is at least a comforting reminder that we live in a plenum.

Instead of topping herself with even nastier bars and stickier hooks, or even taking a sharp left turn into new territory, she slips into well-worn grooves carved out by her previous — and far stronger — projects.

It's unclear whether Beyoncé follows the culture or the culture follows her, but either way, she remains its ultimate barometer.

With her latest endeavor “Lapvona,” it's evident that Moshfegh is not impervious to her newfound widespread name recognition or status as the definitive writer of “unlikable female protagonists.”

It's reckless in uncurbed indulgence that’s indicative of a deep-seated narcissism Luhrmann hardly strains to conceal.