A Fine Romance: When Love Neither Leaves nor Stays
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[…]
Category: Essays
Two Truths: Inside No Way Out (A Gift to a True Friend)
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,[…]
Before Hollywood: Max Ophüls, Curtis Bernhardt, and Robert Siodmak in Exile in Paris
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[…]
You Say You Want an Evolution: Sneaker Cinema’s Narrative and Aesthetic Ground Zero
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[…]
Between Diegesis and Mimesis: Voice-Over Narration in Fiction Film
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[…]
Post-Horror Kinships: From Goodnight Mommy to Get Out
“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
But It Did Happen! Werner Herzog and the Ecstatic Truth
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.[…]
John Wayne Burns His Hand: Gestures in The Man Who Shot Liberty Valance (John Ford, 1962)
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[…]
“The Joke’s on History”: Retro-Reality, Twee, and Mediated Nostalgia in La La Land (2016)
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[…]
We Need to Talk: Language and Communication in The Martian and Arrival
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[…]
Design for Killing: Function Follows Form into the Megalomania of Giallo
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[…]
Out of the Shadows: A Hollywood Theater Impresario Emerges from LA’s Notorious Black Dahlia Murder Case
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
Any Time, Any Place: Plot as Pretext from Renoir to Rohmer
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
Manning Up on the North Shore: American Masculinity and the Early Surf Movies
. . . or how the first surf films helped American men get over the war and change their act * * * In the 1950s and early ’60s, a[…]
When Heaven Came to Earth: Letter to My Millennial Friend on Alan Rudolph’s Made in Heaven, Shot the Year You Were Born
MY CHUM, JANE LILEE, Being as it’s coming up on the anniversary of our meeting, I thought I’d check in with you, and maybe get points for remembering the occasion.[…]
Directors · Essays · Philosophy
Asking the Wrong Questions: Reiteration and Doubling in David Lynch’s Lost Highway, Mullholland Drive, and Inland Empire
“Mystery is good, confusion is bad. And there’s a big difference between the two.” – David Lynch * * * A survey of the critical literature pertaining to David Lynch’s[…]
“Disease with a Purpose”: Ex-Boyfriends, Abortion and The Fly (1986)
But the choice to get this thing out of her body, to have an abortion, is made up of equal parts self-compassion and safety. It is entirely locatable. Ronnie is[…]
Activist & Political · Drama · Essays
Beatriz at Dinner: Eating Up the Whole World
Moloch whose mind is pure machinery! Moloch whose blood is running money! Moloch whose fingers are ten armies! Moloch whose breast is a cannibal dynamo! Moloch whose ear is a[…]
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