The film withholds memory and history from us, always knowing more than us, plot-wise, but inviting and compelling our projection of how we fill the space of our own friendships.[…]
Actors & Personalities · Comedy · Drama · Essays · Romance
QT’s films are commonly hurtling toward darkness, yet Once Upon feels like a repudiation, as much as a culmination, of his oeuvre. There’s a point in the experience where the[…]
The final episode of The Return (and, indeed, Lynch’s entire canon) has nothing to do with the literal things, the tracing of narratives and the understanding of who does what.[…]
“We’ve met before, haven’t we?” – The Mystery Man in Lost Highway * * * David Lynch is not a horror director. With the possible exception of Eraserhead, his films[…]
But goes on being itself * * * True Love in cinema is more than fine acting, well-written scripts, or even directorial tone. Not that IMDb cast and crew should[…]
That’s why I sing for an America that will never be back but that left us with such vivifying memories. You’re not lost, not past, not buried. You’re active, vital,[…]
Hollywood was just beyond the horizon for the émigrés. There is no doubt that Curtis Bernhardt, Robert Siodmak, and Max Ophüls thought they would settle down in Paris and become[…]
What sneaker cinema is amounts to the sport shoe’s role in adding narrative or stylistic significance to a film’s mise-en-scene, themes, characters, or plot lines. And to be clear: ruby[…]
This brief essay will seek to answer the distinctions between mimetic and diegetic elements in a filmic text, isolate the voice-over as a unique event located between the strict division[…]
“The aesthetic features of post-horror replicate the mixture of shame, confusion, shock, and anxiety about the future experienced by liberal Americans in the midst of the Tea Party and Trump’s[…]
Directors · Documentaries · Essays
I think that this delicate line between reality, and fact, and truth needs to be more clearly defined. We have to redefine reality.1 – Werner Herzog There are dignified stupidities.[…]
Some actors’ gestures are the equivalent of a great singer, dancer, or athlete achieving the heights of their profession. And the reason so many people respond to Ford’s films by[…]
Mia: It feels really nostalgic to me. Sebastian: That’s the point. Mia: Are people going to like it? Sebastian: Fuck ’em. – La La Land * * * The popular[…]
Uncharacteristically, The Martian and Arrival do not present us with a problematic dystopian future with which to grapple; a future in which everything has always already gone wrong. Instead, they[…]
Filmmakers like Argento have no interest in sex per se. Suffering seems inessential, but terror and death are key, photographed with the same clinical absorption and aesthetic gloss as giallo-maestros[…]
The middle-aged theater owner who preferred a discreet lifestyle suddenly found himself in the media spotlight only ten days after the Black Dahlia’s murder. Someone had gathered Elizabeth Short’s personal[…]
Essays · French Cinema · Romance
What will become of Camilla? A character who is unsupported by theatrical context must cease to exist; when the curtain falls, the characters are unleashed from aesthetic dimensions. Renoir makes[…]
Essays · Historical & Epic · War
. . . or how the first surf films helped American men get over the war and change their act * * * In the 1950s and early ’60s, a[…]
