Notes on "Papá Iván," a film by María Inés Roqué. México, 2000. Argentina's Dirty Little War This morning I spent the better part of an hour on the phone with a woman I had never met, talking about things I have carried for fifty years. Her name is María Inés Roqué. She makes documentary films; so do I. She left Argentina around the time I did. Somewhere in that hour we discovered we have many friends in common. It should not have surprised either of us: the country we left

While preparing a lecture in Barcelona on the 1916 crossing of the Andes by hydrogen balloon, I reopened the research archive my father left behind for his book Más liviano que el aire. Among the papers was an incomplete collection of the 1969 La Nación comic series Bradley y Zuloaga, published during the days surrounding the Apollo 11 Moon landing.

Pilar Roca Escalante visita o ateliê de Marcelo Soares em Timbaúba e traça o retrato do xilogravurista e cordelista de Olinda, herdeiro do "poeta-repórter" José Soares. Entre rendeiras, violeiros, o pavão misterioso e as vestes do cangaço, suas gravuras transpõem em imagem a música e a alma do Nordeste.

In the Jim Crow South, Black men and women paid to step into the photographer’s studio and be seen as they chose. The Holsinger Studio Collection holds the record of that quiet defiance.

A modernist bronze of a woman — commissioned by Colonel Frank "Brandy" Brandstetter, founder of Las Brisas — leads back to a Carrara dynasty, to Rodin, and to the one building where Ponzanelli's marble met Tiffany's glass.

The Fine Arts Film Festival, now in its 13th edition, is genuinely about art — how it's made, how artists survive, what drives them. That's not marketing copy; it's what their selection reflects. Ninety films from 31 countries, and the overwhelming majority made by women and people of color. The Piccirilli Brothers were immigrant stone carvers who shaped some of the most iconic monuments in America and were largely forgotten. This feels like the right room for their story.

Por primera vez, Miriam Gómez —viuda de Guillermo Cabrera Infante— responde a un artículo sobre la amistad entre Cabrera Infante y Alberto Korda: La Habana, las mujeres y el fin del espejismo revolucionario.

A reflective essay by Eduardo Montes-Bradley examining how Cuban-American painter Humberto Calzada transformed order into an act of resistance. Through the architecture of his home, the precision of his studio, and his paintings of Havana, Calzada preserved memory, identity, and sovereignty in exile.

I suspected my father's days were numbered. Not that he would care to discuss the matter. Despite my best efforts, we never talked about it. A few months earlier I gave him a copy of Seneca's Letters on How to Die, hoping it would trigger a conversation. It didn't.

Jewish women partisans fought, sabotaged, and survived the Holocaust as soldiers, not victims. A reflection on "Every Day the Impossible," narrated by Tovah Feldshuh.

I visited him in the summer of 2022 with my son William, at his home in Woodstock — a house that felt entirely like him, lived-in and full of things that mattered, his daughter Uma’s two dogs keeping him company, his life companion Nena von Schlebrügge nearby.

For nearly half a century, Israel mounted one of the most remarkable cultural soft-power projects in modern history. That project is now, for all practical purposes, suspended. A diaspora Jew reflects on what the strategy of survival has cost — and what may no longer be retrievable.

A New Orleans Creole melody from the 1840s holds the edges of twenty-first-century Bucharest. Cristi Puiu's Aurora is cinema of formal austerity, post-socialist collapse, and one man's inevitable violence — framed entirely by Gottschalk.

Getting accepted is only half the journey. What turns a festival screening into lasting momentum is the story you tell around it — before, during, and after.

An essay on historical memory and transatlantic debt — arguing that before Normandy, France chose to bleed for American independence at Yorktown, Savannah, and Rhode Island, and that gratitude running in only one direction is not gratitude. It is accounting.

A meditation on Europa, bullfighting, Bous a la Mar, and the possibility that some myths survive because they are still being performed.

An evolving journey through memory, music, race, faith, and Carnival, told by the voices of the men and women who shaped the story of samba in Samba on Your Feet.

Samba on your Feet is a film by Eduardo Montes-Bradley | To experience samba and Carnaval is to immerse oneself in a living history.