Once I noticed the Kimberlys in Nora Ephron’s work, I couldn’t stop noticing them. If we’re accepting Ephron’s own assertion that real-life hurt and heartbreak can be put into fiction with impunity, what did she have against some woman named Kimberly?
Two films featuring Michael Nyman's "Fish Beach" seem so utterly opposed that it’s hard to believe they could share anything at all, but a deeper shared resonance can be drawn out thanks to the particular ways that Nyman’s style of composition works upon picture and viewer.
"I always made choices based on my gut and sometimes they ended up more commercially successful and sometimes less so. I have to make something that I might want to watch, or show a world that I find interesting."
Crafted as though from everyday observation and fantastic dream, About Endlessness marries the magical and mercurial, the simple and surreal.
There were days where I couldn’t believe how lucky I was to be able to sit with loved ones and share these first-time viewings in real time, and others when the combination of quarantine cabin fever and less-than-stellar runs of films made it seem like everything would be mediocre. A privilege and, 32 movies, shorts, and episodes later, a pile-up.
NASA made the Mercury Seven men into a myth. Tom Wolfe made them into (slightly flawed) idols. Philip Kaufman makes them the prototypes of all the insouciant heroes of the Reagan era, who reinforce the American status quo while still breaking every rule.
If there was any tangible loss in a virtual Sundance, it wasn’t the loss of celebrity sightings and frostbitten extremities; it was the loss of a shared narrative on what the week had provided.