The Film Society of Lincoln Center is in the midst of a complete retrospective of the work of the Dardenne brothers, Luc and Jean-Pierre (they’ll be appearing there in person tonight in discussion with Kent Jones), whose features have been enormously and justly influential in the last decade. But the nature of their achievement, practicalities (two Palmes d’Or at Cannes) aside, is fascinating to consider: their documentary-style dramas, filmed on location largely with non-actors portraying characters in the grips of economic troubles, are surprisingly endowed with strong symbolic elements. I discuss them in this clip from “L’Enfant” (“The Child”), from 2005. (It’s playing tomorrow at 8:30 P.M.)
Goings On
What we’re watching, listening to, and doing this week, online, in N.Y.C., and beyond. Paid subscribers also receive book picks.
Pop Music
The Tortured Poetry of Taylor Swift’s New Album
“The Tortured Poets Department” has moments of tenderness. But it suffers from being too long and too familiar.
By Amanda Petrusich
Letter from Biden’s Washington
Did Mike Johnson Just Get Religion on Ukraine?
The Speaker’s sudden willingness to bring foreign-aid bills to the House floor risks his Speakership—and Trump’s wrath.
By Susan B. Glasser
Infinite Scroll
The Internet’s New Favorite Philosopher
Byung-Chul Han, in treatises such as “The Burnout Society” and his latest, “The Crisis of Narration,” diagnoses the frenetic aimlessness of the digital age.
By Kyle Chayka
Dept. of Medicine
How to Die in Good Health
The average American celebrates just one healthy birthday after the age of sixty-five. Peter Attia argues that it doesn’t have to be this way.
By Dhruv Khullar