Perhaps I can trace my steps backward and forward, anticipating and restoring the nostalgia, with a little less trepidation thanks to my early time spent with The Big Chill. By the time I reached my own cold fronts, I had the reminder that others had passed this way before.
JoinedOctober 29, 2020
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In Fellini's La Strada, we enter another plane by grace of Gelsomina. Gelsomina (Giulietta Masina) is the Spirit, the Soul. She will play the trumpet.
On Chris Rock's Top Five and how difficult it can be to know exactly where the show ends and the reality begins.
L.A. Story is romantic, hopelessly. Our four lovestruck main characters fall in and out of their spells. The tone gets mushy. The freeway sign is embraced. The paradise could be believed.
The illusions of The French Dispatch are wondrous and sweet, and possibly vanishing. This singular setting and this singular filmmaker bolster one another, though, an inevitable convergence of two finely cultivated worlds—the outsider dream of France, and the extended universe of Wes Anderson.
It took a movie, not for the first or last time, to hoist my attention to broader ideas. At an evening showing of Nobody’s Fool, it occurred to me that I could become an old man.
With human activity suspended in 2020, nature re-emerged.
A tremor of vulnerability renewed itself as I sat down to watch The Elephant Man again. I wasn’t sure I could handle it. Am I resilient enough for this now? Am I finally old enough to see it?
French director Ladj Ly picks up Victor Hugo’s matters of poverty, injustice, and revolt and runs with them—far enough away to reclaim Les Misérables for a 21st century country.