In Andrew Ahn’s remake of Ang Lee’s 1993 crowd-pleaser, two gay couples strike a bargain that turns both Faustian and farcical.

The subject of numerous controversies, she is defined by ambiguity, welcoming outcasts to the Church and provoking more imaginative approaches to faith.

“The destruction I saw there was astonishing.” A detailed account from a doctor who, during the brief ceasefire, spent nine ...

New productions of Shakespeare’s “Richard II,” Annie Ernaux’s “The Years,” Robert Icke’s “Manhunt,” Tennessee Williams’s “The ...

In Courtney Stephens and Callie Hernandez’s dizzying docu-fiction, an Edenic landscape becomes a backdrop for duplicity and ...

Pope Francis has long advocated for immigrants, refugees, and the vulnerable—but the Church, like other institutions, may ...

A professor at M.I.T. on how Xi Jinping is likely to respond to U.S. tariffs and why the standoff won’t weaken the Chinese ...

Also: Adam Gopnik on where to eat near the Frick; Sondheim and Chekhov, Marisa Tomei and Lucas Hedges on stage; the kinetic ...

From the daily newsletter: as the Administration flirts with contempt of court, two federal judges are trying to uphold the ...

Ryan Coogler’s vampire movie mines vampirism’s symbolic potential to tell a tale of exploitation and Black music in ...

People who love Phish do so with a quasi-religious devotion. People who dislike Phish do so with an equal fervor.

In the ruins of a health-care system, many medical facilities have become graveyards. Doctors continue to deliver lifesaving care—but they risk their own lives in the process.