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Issue 29: Lenses

October 2015

Letter from an Editor

Andrew Root·
Issue 29: Lenses
We’ve got a wonderful grab bag of cinematic ephemera for you this month.
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Guts and Glory

Sophia Nguyen·
Issue 29: Lenses
In Knick, the body is mystery meat. Squelching and sticky, it has a reality that repels abstraction and houses a dark disorder that wrecks any pretensions to mastery.
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The Witch Dance

Kelsey Ford·
Issue 29: Lenses
A Very Long Engagement is a fable about grief and young love.
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Groundshock

Justin Hocking·
Issue 29: Lenses
Yet, what if the bomb was buried and detonated over a mile beneath the earth, thirty miles from your family's home, two and half months before your birth?
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All You Are Going to Be, You Are Already

Gray Hendryx·
Issue 29: Lenses
Each scene in The Holy Mountain was staged as symbol in and of itself—and they came at me in a ceaseless barrage.
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Black Sheep Club

Karina Wolf·
Issue 29: Lenses
Desperately Seeking Susan is a movie about iconography as a narrative strategy, as a cinematic device, as the foundation of an artistic career.
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How Much of the Body Can You Lose and Still Recognize Yourself?

Anneke Schwob·
Issue 29: Lenses
To categorize A Zed and Two Noughts as any kind of meditation on grief would be to discount the way that Greenaway holds his characters at a physical and emotional remove
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Afterimages of Comedy

Brad Nelson·
Issue 29: Lenses
White feels like the afterimage of a comedy, a funny movie whose characters seem to fall through its sheer absence of jokes, into ambiguous and oblique gaps.
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The Golden Age of Grapefruit

Eloise Ross·
Issue 29: Lenses
A grapefruit is never dull; on the contrary, it’s often the center of attention.
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Talk This Way

Zosha Millman·
Issue 29: Lenses
The truth is, like Keanu Reeves, accents don’t inherently make a story or character more convincing just because they’re there.
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“This Isn’t like Any Other Profession Out There”: A found poem

Arielle Greenberg·
Issue 29: Lenses
"Don’t mind the cameras till you to talk to them."
Read More

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