Youngkwang Shin ’19

“Stop Making Sense” begins and ends with the image of David Byrne’s lithe, seemingly boneless body writhing according to a mysterious tempo, as it sinuously weaves in and out of a multi-instrumental rhythm by the accomplished members of Talking Heads — whom the concert film follows for four nights at

Popular consensus has not been kind to director M. Night Shyamalan — just look to the truly baffling “The Last Airbender” to confirm its hostility. One of the most distinctive voices in American popular film, Shyamalan has long withered under the public image of a thwarted prodigy, perhaps unfairly. His failures

Director Hirokazu Kore-eda’s “Shoplifters,” his newest cinematic plunge into the urban discomforts of contemporary Japan, arrives in Amherst Cinema after its yearlong triumph in the international film festival circuit. On the surface, Kore-eda’s little tale about a clan of petty thieves meets every assumption regarding the artistic conservatism

For the past two months, Amherst Cinema has been holding screenings of the works of Agnes Varda, a French filmmaker whose movies were released in the mid-20th century. Varda made inimitable contributions to the amorphous category of films we nowadays label “arthouse cinema,” and with the final screening of “Beaches

Red Miller (Nicholas Cage) lives in the mountains with his artist-wife Mandy Bloom (Andrea Riseborough), hidden from the rest of society in deep and enduring love. However, hints of the dangerous nature of their relationship surface: Red is a recovering alcoholic, and Mandy’s fantastical art sketches out the abstract