I was expecting politics with which I disagreed in Civil War—but instead, I was met with a deep cynicism that hit too close to my own core.
The urge after life—from art and business alike—is the creation of memorial. But memorial for Corman feels impossible, if only for the breadth. He directed nearly 60 films, produced some 385. By 1964, he was the youngest filmmaker to have a retrospective at the Cinémathèque française. In April 2020, the 94-year-old announced “the first (and hopefully last) Corman Quarantine Film Festival.”
Honing in on “the zone” as a location, Glazer uses The Zone of Interest to explore how place is a container of memories, emotions, and time.
I spent much of Furiosa wondering why this film existed—less “who is this for?” and more “why is this here?” The answer that emerged over the course of viewing, considering, and then rewatching Fury Road was that of character, not of plot—Furiosa exists to show us how a drive for revenge can turn into a drive for redemption.
John Turturro’s film tells the story of a failing theater company trying to stage a new play while the lives of the actors and various theater people intersect, conflict, and finally resolve. I have seen it at least fifty times—maybe more. But only after my uncle’s funeral in 2021 did it occur to me that, yes, Illuminata might be an opera.
The author of Miss May Does Not Exist opens up about writing a book on the famously elusive and brilliant Elaine May, falling down rabbit holes, and her own deep love for Ishtar.
Each time I return to the "Everything Old is New Again" scene in All That Jazz, I’m wowed anew at the sheer fullness of it; how it can pack so much feeling and information into an ostensibly sweet little dance number.
Luca Guadagnino’s Challengers is a fight for recognition and existence, but more importantly, it’s a story of love as an act of reanimation.