Starting Nov. 13, the Met Fifth Avenue will be hosting a rare gathering of 133 of the Renaissance master’s drawings, borrowed from institutions such as Windsor Castle, the Uffizi and the Louvre. The exhibit will also include sonnets, letters, works by contemporaries and “The Torment of Saint Anthony,” a supremely weird painting of the holy man getting beaten up by a group of distinctly fishlike demons that Michelangelo copied from a German print when he was barely a teenager. WILL HEINRICH
Video by SundanceTV
TV: ‘In Cold Blood’ Revisited
Nov. 18-19; sundance.tv.
As a child in rural Kansas, I would listen to my father walk the perimeter of our home each night, latching screens and sliding bolts. On those vast, lonely plains, the locking of doors was our lullaby. It was years after Perry Smith and Dick Hickock slaughtered the Clutters in their Holcomb farmhouse a couple of counties away, but the memory lingered for my father, who knew that in the middle of nowhere, there’s no one to hear you scream.
In “Cold Blooded: The Clutter Family Murders,” a two-night documentary starting Saturday, Nov. 18, on SundanceTV, Joe Berlinger uses archival documents, letters from the killers and interviews with townspeople, a son of the case’s chief investigator, Alvin Dewey, and even members of the Clutter family to re-examine the 1959 crime immortalized by Truman Capote in “In Cold Blood” some six years later. Part 2 will air Sunday, Nov. 19, followed by a 50th-anniversary screening of Richard Brooks’s Oscar-nominated adaptation of “In Cold Blood,” starring Robert Blake and Scott Wilson. Watch it with your doors locked. KATHRYN SHATTUCK
Credit Maria Baranova
Dance: Marjani Forté-Saunders in Manhattan
Nov. 15-19; newyorklivearts.org.
In her recent trilogy “Being Here …” the choreographer Marjani Forté-Saunders wrestled with a set of urgent social issues, exploring relationships between mental illness, addiction and systemic poverty. Her latest project, “Memoirs of a … Unicorn,” takes a turn toward personal history, with stories of her Arkansas-born father’s life as a point of departure. “As I started digging into questions about my dad, I realized I was having a larger conversation about lineage,” she said recently by phone.
In the resulting work, part installation and part fantastical solo performance, Ms. Forté-Saunders, an Urban Bush Women alumna, seeks to complicate conventional and one-dimensional notions of black male identity. Presented by New York Live Arts off-site at the Collapsable Hole in Manhattan, Nov. 15 through 19, “Memoirs” draws from writings by Carlos Castaneda and Virginia Hamilton, weaving text and movement together with visual projections by Meena Murugesan and sound by Everett Saunders. The set, designed by Mimi Lien, was built in part by Ms. Forté-Saunders’s father. SIOBHAN BURKE
Video by Lorena Jaramillo
Film: ‘A Fantastic Woman’ and ‘The Breadwinner’
Both open Nov. 18.
What defines a man or a woman, or for that matter a boy or a girl? In “A Fantastic Woman,” from the Chilean writer and director Sebastián Lelio, the much older lover of a transgender waitress and lounge singer dies suddenly, leaving her to grieve in isolation as she is harassed by the police and evicted from her home by the deceased’s estranged family. A.O. Scott of The Times declared it his favorite movie at the Telluride Film Festival in September, calling out its star, Daniela Vega, for creating a character who “suffers with the grace and ferocity of a ’40s heroine.” Ms. Vega, in turn, is generating speculation that she could become the first transgender actress nominated for an Oscar.
And in “The Breadwinner,” an 11-year-old girl in Taliban-ruled Afghanistan disguises herself as a boy to support her family after her father is imprisoned. This gorgeously animated adaptation of the children’s novel by Deborah Ellis, directed by Nora Twomey, with Angelina Jolie as an executive producer, doesn’t shrink from hardship or horror, and in fact bubbles over with courage and even hope. KATHRYN SHATTUCK
Credit Richard Perry/The New York Times
Classical: ‘The Routes of Slavery’ at Lincoln Center
Nov. 15, lincolncenter.org.
In recent years, the Catalan viola da gamba master and conductor Jordi Savall has embraced an increasingly expansive vision for early music, working with an ever-widening cast of musicians on projects that grapple with major historical and political questions. The latest of such efforts, “The Routes of Slavery,” will arrive at Lincoln Center as part of the White Light Festival on Nov. 15.
Originally sponsored by Unesco, this sprawling performance surveys four continents of musical traditions, tracing the horrors and the cultural legacy of the transnational slave trade from 1444 to 1888. Early gospel tunes, Mexican folk music and West African griot songs will be interspersed with dramatic readings of texts about slavery by Aristotle, Martin Luther King and others. Savall will preside as impresario over an international assembly of performers, including kora virtuoso Ballaké Sissoko, the gospel group Fairfield Four and the early-music ensembles Hespèrion XXI and La Capella Reial de Catalunya. WILLIAM ROBIN