Claire Simon's Our Body is not only a fascinating look into the modern healthcare system, but is also, as with any documentary worth its weight, a peek into the ordinariness of extraordinary things.
While retaining the essence and many details of the original story, Christian Petzold's Undine (2020) echoes, remixes, and updates pieces of the original tale in a manner likely impossible for an audience to predict—or any other director to have arrived at.
On our latest mini-episode, Chad and Veronica look at The Cameraman (1928), reflecting on the impossible beauty and precision of Buster Keaton, bodies in motion, and a pantomime scene at Yankees Stadium.
Oppenheimer, like its namesake J. Robert Oppenheimer, is a noble failure—but I've continued to revisit it in my mind’s eye, wondering if it worked on me or if it was merely evocative—and to what degree “evocativeness” is a measure of quality.
Ethan Hunt has been engineered as Cruise’s go-to export, the slippage between character and actor deliberate; Hunt is the closest an audience gets to seeing Cruise act like a normal person.
In Matewan, John Sayles creates a compelling narrative that still evokes a sense of truth.
This month, we're chatting about how Todd Haynes’s Safe transposes the female ennui of Antonioni’s Red Desert to the sherbert interiors of Sherman Oaks, CA.
Where Asteroid City shines, where it is made masterpiece, is in its brief flashes of joy: a good picture, a milkshake, a song and dance, one more martini. Here is a life not perfect—soldiers wielding guns, no personal space, endless boredom—made enviable by one thing only: each other.
Welcome to another edition of The BW/DR Podcast: Frame 25, our new series of bite-sized podcasts. This month: the relentlessness and romance of Paul Thomas Anderson’s Punch Drunk Love (2002), a movie so pretty, we just want to smash it.
You get what you bring into Past Lives, a lush and dreamy new film and the directorial debut of playwright Celine Song—a story of love and loss and reconnection between childhood sweethearts across a quarter-century and two continents.
Welcome to our new podcast series in conversation with, and sponsored by, our friends at Galerie. Every month, we’ll pick a film and zoom in on a single moment to better see the whole. This month: Věra Chytilová's Daisies (Sedmikrásky).
