The Player, Robert Altman, and Hollywood.
Comparing Fellini's 8 ½ and Malick's Knight of Cups reveals the deep relationship between memory and imagination, including the manifold ways that cinema functions as memory, opening up paths through which we might make sense of things.
The Celluloid Closet is about queer cinema, but it’s also about how queer audiences sought it out in order to validate our existence at a time when validation was hard to come by.
Like any good magic trick, Boogie Nights disrupted my understanding of the world.
On Hearts of Darkness: A Filmmaker's Apocalypse
"These people love the movies, and they believe in this movie. Their only sin is they have no talent."
Throughout their body of work, Powell and Pressburger return to the question of whether life and art can co-exist, and if the urge to live or the urge to create will win out in the end.
Bombshell teaches us that life may be nothing more than a series of performances—overlapping, contradicting, and unstable.
On the Horror Movie, and, also, the horror movie Scream 3.
An impressionistic weave of artistic successes and personal failings, All that Jazz is at once a confession, a self-promotion, a showbiz love letter, an apology, a middle finger, and a darkly-comic musical, all braided into an exploration of the five stages of grief.
