A look at the narrative features that premiered at this year's Tribeca Festival.
Matt writes: The 2018 installment of our Women Writers Week at RogerEbert.com just came to a close and featured extraordinary writing from such vital scribes as Arielle Bernstein, Tomris Laffly, Christy Lemire, Kristen Lopez, Nell Minow, Jana Monji, Sheila O'Malley, Allison Shoemaker, Susan Wloszczyna and many others.
The winners of the festival's jury and audience awards were announced on Saturday night.
An extensive preview of 50 films coming out within the next four months, from "Sully" to "Toni Erdmann."
An interview with writer/director Jeremy Saulnier about his punk rock thriller "Green Room."
Reviews from Sundance 2016 of US Dramatic Main Competition titles "Tallulah," "The Intervention" and "Joshy."
Ben Kenigsberg looks at Kent Jones's documentary "Hitchcock/Truffaut," showing in Cannes Classics.
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Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.