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While his latest debut at Cannes, Asteroid City (2023) unspools a predictable plot with a familiar cast, the film’s stylistic precision reminds Nolan Kelly not to take a one-of-kind auteur for granted.
The largest-ever retrospective of a living artist at the New Museum, New York charts Wangechi Mutu’s turn from the material resonance of found-object collages to the easy symbolic iterations of bronze sculpture.
Minutes to midnight, Nolan Kelly wonders if hyperpop is a nostalgic rehash of too-recent hits, or a consolation for a culture exhausted by novelty-seeking?
Some movies are only worth seeing in theaters if you don’t have to pay for a ticket. Others merit repeated viewings. Here are Nolan Kelly’s tips on what to watch and how to watch it.
The glamor of the Cannes Film Festival feels impenetrable to most mortals. But what if it’s not? What if you just had to learn how to fake your way in? By Nolan Kelly