Philadelphia playwright James Ijames makes his Steppenwolf Theatre Company debut with ‘What Is Left, Burns,’ an engrossing, elliptical digital play. Cameron Kelsall reviews.

In ‘(Un)Making Monuments,’ The Print Center asks how we handle tributes to a traumatic past: whether they’re defaced, reimagined, or removed, these monuments continue to tell us about ourselves. Pamela Forsythe reviews.

Quintessence Theatre finished up its Shout into the Void Virtual Play Reading Festival and celebrated Election Day with Georg Büchner’s political masterpiece ‘Danton’s Death.’ Josh Herren reviews.

'Woman of the Photographs,' one of the narrative features screening during the 13th annual Philadelphia Asian American Film Festival, is a surreal Japanese film whose loose narrative is further distorted by a forced visual aesthetic. Kelly Conrad reviews.

Talia Lavin, one of the current political moment’s most incisive journalists, details her confrontations with the world’s worst trolls in ‘Culture Warlords.’ Stephen Silver reviews.

Piffaro and carilloneur Janet Tebbel are ringing all the bells in their excellent season opener, which makes the most of video. Gail Obenreder reviews.

Sundance Film Festival award winner ‘Minari,’ screened as one of the marquee films at the 29th annual Philadelphia Film Festival, is a family drama that doesn’t delve deep enough into the immigrant experience. Kelly Conrad reviews.

Young workers trying to survive the shoals of 2020 will relate to Philly author Kitty Shields’s urban fantasy debut, ‘Pillar of Heaven,’ which considers just what a big paycheck is worth. Michelle Nugent reviews.

PHILADANCO! explored love and struggle with emotional performances by Joe González and Janine Beckles, in a show that brought distanced audiences as close as possible to the theater. Camille Bacon-Smith reviews.

Filippo Meneghetti’s French-language film ‘Deux’ (‘Two of Us’) is a poignant love story and new queer classic. Mina Reinckens reviews the Philadelphia Film Festival screening.