A Face in the Crowd engages in a compelling paradox: it prominently displaces and visibly erases Blackness on-screen. Intentionally or not, in following the rise and fall of a white folk personality, the film tells a different but related story, that of “love and theft” as Hollywood’s original, and gravest, sin.
This holiday season, a very special holiday podcast treat: an audio version of one of our most popular essays of all time: Ethan Warren's "A Grand Yuletide Theory: The Muppet Christmas Carol is the Best Adaptation of A Christmas Carol".
"I think this is a thing that will not change in whatever I’m lucky enough to make in the future: a constant prioritizing of the pleasure principle. I lament the moving away from sensual pleasures in cinema."
It’s the purview of art, of good art, to move. To move emotionally, intellectually, to move with or against the moment in which it’s found. It’s also the purview of the critical observer to take on whatever totality of context and understanding about the art and artist they already retain, or accumulate and decide for themselves what the work means, if it happens to mean anything.
If Taylor Swift: The Eras Tour is about anything other than its star, it's about the sheer labor involved in putting on such a production.
Thank god for the New York Film Festival, where every year I buckle under the pressure of a glut of art and groan to anyone who will listen: “I didn’t see enough!”