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Issue 55: Best of 2017

January 2018

We Do What We Can to Endure

Chad Perman·
Issue 55: Best of 2017
On the simple poetry of David Lowery's A Ghost Story.
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Class Dismissed

Brian Brems·
Issue 55: Best of 2017
The perverse sense of comedy within the world of Vice Principals invites laughter at profound darkness.
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The Names We Choose For Ourselves

Jen Myers·
Issue 55: Best of 2017
On mothers, daughters, and Lady Bird
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Photographic Memories

Rebecca Hirsch Garcia·
Issue 55: Best of 2017
Agnes Varda and JR hit the road to capture the impermanent in Faces Places
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In My Home I Do Not Speak

Fran Hoepfner·
Issue 55: Best of 2017
I saw Lady Macbeth in the dead weight of summer with two male friends. This was, as politely as I can say it, a mistake. I don’t think we had the language to talk about it afterwards.
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Look on My Works, Ye Mighty, and Despair

Sarah Welch-Larson·
Issue 55: Best of 2017
Alien: Covenant is a greatest-hits compilation, remastered in high definition and dripping in menace, with nods to all the previous films in the franchise.
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A Lover’s Discourse

Karina Wolf·
Issue 55: Best of 2017
In Phantom Thread, the concession of loving is not an ending, nor a triumph—it is a turn of the screw.
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The Evil of Meaning: Fragments on The Leftovers

Joel Call·
Issue 55: Best of 2017
"The Messiah will only come when he is no longer necessary.”
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Creating Something Together: Mother! in perspectives

Zosha Millman·
Issue 55: Best of 2017
The whole thing is a fever dream, but like any dream, it has a kind of logic to it that dances just beyond our grasp.
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“How To Make a Movie Show?”: on Brigsby Bear, Empathy, and My Nervous Breakdown

Ethan Warren·
Issue 55: Best of 2017
"For all its whimsy, the core of Brigsby Bear is one of simmering hurt—the story of someone forced, at the gentle but firm insistence of people who can’t understand him, to try and move beyond a lifelong trauma that he can only barely recognize as such."
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Call Me by Your Name and Empathy at the Movies

Katie Goh·
Issue 55: Best of 2017
What a gift of a film for the long, dark winter.
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An Architecture of Silence and Love

Nathan Knapp·
Issue 55: Best of 2017
Every shot in Columbus exudes an intentionality which is controlled but not controlling, each scene an austere but life-filled canvas.
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