The principal Homeric venture of Blue Water, White Death is that there is still worth in seeing the unseen things in the world. There is still worth in testifying to the idiot spirit of human inquiry.
JoinedOctober 9, 2019
Frank Falisi is a New Jersey-based writer and actor. His work has appeared in Reverse Shot, MUBI Notebook, Tone Glow, and Tiny Mix Tapes among others.
Bugs and Daffy aren’t all that opposite; Bugs and Daffy just want to be bodies. When collided, they have tremendous chemistry: one unflappable and unflappably committed to mischief, the other subject to seismic outcry at the first whiff of mischief, equally committed to dishing it back in full.
To be bold, to dare to be stupid: this single frame in The Great Dictator is the most essential frame occurring in Charles Chaplin’s filmography. It is the most elegant and achy navigation out of comedy, straight through tragedy, and into something like the human struggle ever captured by camera.
Gore Verbinski’s Pirates of the Caribbean trilogy is a startling experience in how incomprehension, grief, and love can reshape the world.
“Deep listening” to Malick is valuable, but only so much in that it reminds us that artists are just humans doing their best to be in the world with other humans.
Hot Rod is an activist text. It is not escapist; its weirdness calls attention to the flaws of our world instead of distracting from them.
Relocating care and running through the invisible world in Kelly Reichardt's Wendy and Lucy.
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