“A Real Bolshevik”: Two Prosecutors, Reviewed
Two Prosecutors, the latest film from Ukranian director Sergei Loznitsa, opens with a title card both perfunctory and pointed: “1937,…
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10 Things Cannes Film Festival Is and Isn’t
For as long as I have had an interest in film, the Cannes Film Festival has been my guiding light….
Pillion: Finally, Some Good F*cking F*cking
I watched Babygirl over Christmas break this past year while I was home in San Diego. None of my family…
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Oh, Canada Cinematographer Andrew Wonder on His Journey Towards Shooting the “First Sensitive Paul Schrader Film”
It is always a treat to watch a new film from writer-director Paul Schrader, one of America’s foundational thinkers of film form and…
Baseball and America in Eephus
“What always draws me to a film idea is location, mood, and light,” says Carson Lund. In his directorial debut Eephus it’s a…
“…And What’s on the Other Side”: Life, Death and Muppets in Jim Henson Idea Man
In the manner of so many of our most influential creatives and thinkers, the person of Jim Henson—creator of the Muppets, voice of…
Animating Tragedy in Michel Hazanavicius’ The Most Precious of Cargoes
When it comes to subject matters like the Holocaust, one can hardly afford to be diplomatic.
All Style, No “Substance:” Coralie Fargeat’s Cannes critics’ hit is riotous fool’s gold
When Carolie Fargeat’s The Substance premiered at this year’s Festival de Cannes, the response was electric. It seemed immediately that the festival had…
Mutant Women and Noir Dreams: A Cinematic Exploration of Gilda and The Shrouds
Gilda and The Shrouds perform similar dances that flit between paranoid jealousy and nihilistic dissociation.
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“A Real Bolshevik”: Two Prosecutors, Reviewed
Two Prosecutors, the latest film from Ukranian director Sergei Loznitsa, opens with a title card both perfunctory and pointed: “1937, the Height of…
10 Things Cannes Film Festival Is and Isn’t
For as long as I have had an interest in film, the Cannes Film Festival has been my guiding light. I remember learning…
Pillion: Finally, Some Good F*cking F*cking
I watched Babygirl over Christmas break this past year while I was home in San Diego. None of my family wanted to go…
In Our Day: The Cinematic Spaces of Men, Women, the Camera… and the Rifts in Between.
Men, women, and a camera. You might even add a cat in there just to make it a little fun.
2023 USC Cannes Classic Jury Award Winners
It may be tempting to denounce film festivals such as Cannes as displays of self-aggrandizement for the ultra-wealthy. Yet, standing in a packed…
Kubi: Kitano Chops Heads with Glee
Before he died, Akira Kurosawa predicted Takeshi Kitano’s long-gestating project Kubi, when made, can be a masterpiece on par with his own epic…
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“A Real Bolshevik”: Two Prosecutors, Reviewed
Two Prosecutors, the latest film from Ukranian director Sergei Loznitsa, opens with a title card both perfunctory and pointed: “1937, the Height of…
10 Things Cannes Film Festival Is and Isn’t
For as long as I have had an interest in film, the Cannes Film Festival has been my guiding light. I remember learning…
Pillion: Finally, Some Good F*cking F*cking
I watched Babygirl over Christmas break this past year while I was home in San Diego. None of my family wanted to go…