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Issue 115: Best of 2022

January 2023

Memoria and the Limitations of Ebert’s Empathy Machine

Celia Mattison·
Issue 115: Best of 2022
Writing about Memoria ignites the very challenge Jessica faces: how do I translate my thoughts to another person who cannot hold them, and why am I so determined to do so?
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The Blessing

Fran Hoepfner·
Issue 115: Best of 2022
Terence Davies' Benediction is not a puzzle, nor does it court confusion. Instead, it explains how Siegfried Sassoon’s life, whether he wants it or not, is a blessing.
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We Can Be Heroes

Calvin McMillin·
Issue 115: Best of 2022
We know the songs and the big story beats, but Baz Luhrmann shows us that with Elvis, there's still more to discover; not facts, really, but feelings.
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A Few Ways of Looking at The Fabelmans

Frank Falisi·
Issue 115: Best of 2022
The Fabelmans is not a coming-of-age story. There is no answer. It isn’t a parable or lesson or meditation. Instead it reflects, renders in real time, its creator’s relationship to his memories.
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The World of Love Wants No Monsters in It

Olivia Rutigliano·
Issue 115: Best of 2022
Luca Guadagnino's Bones and All is a film that is full of flesh, but also anti-flesh: ethereality and ephemerality.
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My God, It’s Full of Stars

Sarah Welch-Larson·
Issue 115: Best of 2022
Mad God is a stop-motion nightmare, a film that reads like a Boschian painting, a voyeur’s dream, and a dire warning all at once.
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The Unflattering Portrait

Nicholas Russell·
Issue 115: Best of 2022
James Gray's Armageddon Time traces a line from 1980 to now and asks, with no shortage of despair: What exactly has changed?
Read More

Punkt Kontrapunkt

Hannah Bonner·
Issue 115: Best of 2022
"To see a character like Lydia Tár onscreen feels both cathartic and thorny."
Read More

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  • Happy Birthday to one of the very best to ever do it, Mr. Paul Newman. (art by @brianna_ashby) pic.twitter.com/XKL1oKNV2h

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