Kal Penn, 'Harold and Kumar' star, out as gay | CNN

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The actor and former Print Obama adviser Kal Penn has e out as gay, and revealed that he’s engaged to be married.

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HOW A GROUP OF GAY MALE BALLET DANCERS IS RETHKG MASCULY

No, this is about the ballero — my word for him — I met and what he reprented to a lonely gay kid Southern California 1984, a kid who had never before met another gay person. Somethg about his movement told me he was gay, and I felt he was dancg not only for himself but for me. (I showed the clip to a gay iend, who said, “That basilly sums up my relatnship wh my boyiend.

KAL PENN, ‘HAROLD AND KUMAR’ AND ‘HOE’ STAR, OUT AS GAY

Shortly after “Not Our Fate” premiered, Jt Peck, Cy Ballet’s rint choreographer, further challenged ballet’s genr norms when he adapted the woman’s role the pas ux at the heart of his 2017 “The Tim Are Racg, ” pairg Stanley wh Daniel Applebm, a 32-year-old gay soloist wh the you didn’t know much about classil ballet, you might thk ’s an obv home for queer artists and narrativ, but ’s more plited than that: Ballet, of urse, has always had gay dancers and choreographers and homoeroticism, but ’s an artistic disciple shaped by tradn. Masc Femme Butch KweenThere’s a hashtag for everythg on Instagram; when you type #gayballet, you will e across men tights and trag shorts, and eventually you might fd Jam Whi, most likely bare-chted wh a large scratch tattooed on his ribs. For the choreographer Lar Lubovch’s 2015 productn of “Othello, ” Whi didn’t want to waste the opportuny of workg wh a gay llaborator — his Iago was fed wh what he lls “queer rage.

*BEAR-MAGAZINE.COM* JUSTIN PECK GAY

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23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">Two weeks ago, wh his new dance, “Copland Dance Episos,” Jt Peck fally beme Jt Peck. And New York Cy Ballet emerged om s post-<a href=">Balanche</a> sleep and found, at least for a moment, a new self. We have waed a very long time—through years of bter disagreement over the pany’s legacy, through the embattled learship of Peter Marts, and through season after season of medcre new ballets that suggted a pany unable to move on. More recently, the pany suffered a spate of egreg #MeToo sndals and embarked on a long-overdue racial reckong.</p><p class="paywall">Peck grew up this era. He arrived at the School of Amerin Ballet 2003, when he was fifteen; joed N.Y.C.B. as a dancer four years later; and soon began makg danc. In 2014, he beme the pany’s rint choreographer. Wh early works such as “Year of the Rabb” (2012), to a sre by Sufjan Stevens, Peck beme an stant star and an avatar for his generatn. Here was a choreographer, seemed, who had a h dance vobulary—classil but relaxed, easy, and flowg.</p><p class="paywall">In the years that followed, Peck seemed bent on ventg a new Amerin dance vernacular, even as the ia of Ameri self seemed to be shatterg. His work turned quat and repetive. There were too many basic steps and self-nsc “street” mov, often wh the dancers performg sneakers and expensive sual wear. His choice of mic—die rock, electroni—phed him further to popular forms. He worked on Broadway, too, and although he produced some rog group danc “Caroel” and Steven Spielberg’s film versn of Jerome Robbs’s “Wt Si Story,” the work remaed squarely nventnal.</p><p class="paywall">“Copland Dance Episos,” Peck’s first full-eveng ballet, th as a wele surprise. It builds on a versn he ma 2015 of Aaron Copland’s “Roo,” posed 1942 for the choreographer <a href=">Agn Mille</a>. To this he adds new danc to two other famo Copland ballet sr—“Appalachian Sprg” (origally choreographed by <a href=">Martha Graham</a>, 1944) and “Billy the Kid” (choreographed by Eugene Lorg, 1938)—and also “Fanfare for the Common Man,” as a curta-raiser. Peck stch the works together to a sgle dance of twenty-two episos, and he strips out all the narrative and Amerina. There are no wboys, no Shakers, no props or plot, jt eighty mut of full-out dancg—what Peck recently lled a “ballet bge watch.”</p><p class="paywall">The first thg we see is a ont drop pated by Jefey Gibson, an artist of Choctaw-Cherokee herage: a geometric arrangement whose psychelic lors and bold ntrasts announce the palette of the show. Down the sis are the words “<em class="small">THE ONLY WAY OUT IS THROUGH</em>,” a quote, slightly tweaked, om Robert Frost’s poem “A Servant to Servants” (1914), about a poor New England woman who grows attached to workers who mp on her land.</p><p class="paywall">The curta ris on a strikg table of dancers ozen pos and oned mh, as if they had been put storage, or hadn’t que been born yet. They disappear, but the table will return later, wh the dancers unoned—a remr, perhaps, of the past they are gog “through” to get “out.” For the rt of the ballet, the dancers wear bright two-piece stum. Each has two lors—top and bottom—and no two are lored alike. It is Orwell for our time: everyone is different, but nobody is more different than anyone else. The <em>group</em> is the thg; dividuals don’t really exist.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">The lightg, signed by Peck’s longtime llaborator Brandon Stirlg Baker, is key to the show. The drops at the back of the stage and the wgs are bleach whe and seemgly l om all directns, and, unually, the floor is whe, too. The rult is a space that is almost shockgly bright—I have never seen such a bright stage. Even Peck’s prev “Roo” stagg appears transformed this light, which giv the illn throughout of absolute transparency, as if space and air uld be naked and exposed. This is a realm which all will be revealed and nothg n hi, a place of no horizons, obstacl, or boundari. Everythg—stume, sign, dance, even mic— together tight synchrony unr this light, givg the ballet an almost utopian feel.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Each of the danc that sh to this priste space flows to the next. The choreography is technilly mandg, but is also liberately pla, wi and genero, wh arms held and curved swoopg naturalistic movements. After watchg one sequence, Peck apparently mented, “This is way too choreographed,” so he reworked the dance.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Peck’s great skill has always been his facily at movg large numbers of people around a stage, and this piece, wh a st of thirty, he outdo himself. He mostly stays away om set patterns or straight l, so that his dancers seem, like birds, to fly and out of formatns, followg stctive paths rather than any obv logic. This requir an unual md, the kd that se patterns fallg snow. He also lik clumps of bodi stuck together, which then unwd and stter. Intimacy is rare, and, like a kid who cracks jok bee he is ill at ease, Peck at tim rorts to childish tricks, such as a tall guy starg down a short guy, or a ready, set, go! le of dancers who then race across the stage.</p><p class="paywall">And yet, when his dancers are engaged pure dancg, we fd ourselv faced wh somethg astonishg: they move ways that appear pletely asexual and ungenred, and their bodi seem unnnily whout impediments, as if their jots and limbs were fluid, whout ictn or anxiety. There’s plenty of pote work for women and bravura jumps for men, but the feme and mascule styl foundatnal to ballet are somehow ma ntral. It is not jt that they all partner one another regardls of genr; is that they all share a movement vobulary. Chun Wai Chan, a betifully clear and unaffected dancer, for example, leads a group of men a lyril dance full of steps more tradnally assigned to women.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">Pots of ntact between bodi are slippery and smooth. In duets between the extraordary Taylor Stanley and Mira Nadon, we see the faiar love ruals of hands taken or a head laid on a shoulr, but they perform the motns whout a ht of sensualy or eroticism, secrets or sctns. All of that has vanished om their bodi. None of this seems like a privatn; to the ntrary, I have never seen them look so ee.</p><p class="paywall">What we are wnsg, I thk, is a ep ternal shift the way the dancers thk about their own bodi. There seems to be no external eye, no objectifyg watcher; there is only them dancg, om the si. That is one reason that the form—the sk, limbs, torso—looks so liquid. It is an si-out and body-first approach: a kd of physil thkg that ris the wave of a movement whout prr lculatn or stctn. They jt go. Even pa— an episo lled “The Spl,” when Stanley and Nadon separate—is a formal problem. They nvulse alternately on a seri of dmbeats: the movement is the feelg.</p><p class="paywall">We might say that this newfound eedom at the price of a narrowed human spectm, but that is surely the pot. And is why this dance seems to draw a le between the old N.Y.C.B. and the new. Fally, there is no sight of Balanche, Robbs, or Marts—only Peck and his dancers. Perhaps this also explas Peck’s choice of Copland’s most nocent mic. Peck don’t have an ironic bone his body, and he may have need an open range, a place to mp on Copland’s land; there is somethg pist about the “ ’tis the gift to be simple” nature of this dance, even as sists on new bodi and begs.</p><p class="paywall">But Peck is not dogmatic, and, jt as I was tirg of the samens and the bright lights, he sttered the dancers back to the wgs, lettg Copland’s last note strike an empty stage: light, whe, bright. They had been themselv this strong sun, and that was enough to make their ballet s own morn Amerin fairy tale. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box ArticlePageSplAdRail-OyjwD jikppc"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="ArticlePageSplAdRailContent-jsltpq iZDmmY spl-ad-rail-ntent"><div class="ArticlePageSplAdRailTop-jUrrVY jzzFg"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="vzbd8b"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div 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SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Gogs On</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Introducg the Gogs On Newsletter</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Introducg the Gogs On Newsletter" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">This week: “Ai Fashn” at the Brooklyn Mm, Carly Rae Jepsen, and more.</div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="What to Stream: Lt, Ctn, and Ira Sachs’s “The Delta”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Front Row</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">What to Stream: Lt, Ctn, and Ira Sachs’s “The Delta”</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="What to Stream: Lt, Ctn, and Ira Sachs’s “The Delta”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The first feature film by the director of “Passag” shows the perils that arise when gay liv mt be lived secrecy.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Richard Brody</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div 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class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Mil Events</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Elemental Opera at Santa Fe</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Elemental Opera at Santa Fe" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The pneerg summer pany prents Monteverdi’s “Orfeo” the open air, wh a bracg orchtratn by Ni Muhly.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Alex Ross</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="“Passag” and an Art Monster’s Fierce Pury" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Front Row</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">“Passag” and an Art Monster’s Fierce Pury</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="“Passag” and an Art Monster’s Fierce Pury" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The sufferg Ira Sachs’s remarkable film rults not om celty but om tth.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span 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