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If Life Were Only Moments

Julia Sirmons·
Issue 105: Moments
In Irving Rapper’s Now, Voyager—as in all great Hollywood melodramas—gestures are charged with the force of things that cannot be, desires that can barely be spoken.
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Just Take Me Out of My Mind

Ethan Warren·
Issue 105: Moments
All I can say for certain is that, for just under four minutes, Dan Deacon took me out of my mind.
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The World Ends with You: On The Secret World of Arrietty

Alexander B. Joy·
Issue 105: Moments
On The Secret World of Arrietty, teenage despair, wanting what you can't have, and being wanted when you can't be had.
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Song for Our Fathers

Megan Tlamsa·
Issue 105: Moments
The beauty of three consecutive shots of a luncheon ballad transforms Brooklyn from a lovely period drama into a lifeline, as profound and identifiable as a fingerprint.
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Episode #10: Moments

Bright Wall/Dark Room·
Issue 105: MomentsPodcast
Break out the tissues: this month we’ve got a revealing one-on-one episode, with co-hosts Chad and Veronica swapping a medley of their most memorable & formative movie moments.
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So Much Depends Upon an Open Door

Christian Craig·
Issue 105: Moments
Ryusuke Hamaguchi’s Wheel of Fortune and Fantasy takes care to determine what constitutes and calculates the distance between two people, to examine the shapes that relationships can take.
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The Rhythm of the Night: Beau Travail (1999)

Catríona Mitchel·
Issue 105: Moments
Who wouldn’t wish for release? A dizzying catharsis? A moment where the body no longer obeys but flings itself to the furthest corners of its reach and comes out dancing?
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Flesh Amongst Royals

Spencer Williams·
Issue 104: Opulence
At its core, Spencer is a film about belonging—or more aptly, about one’s failure to belong.
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Kieślowski’s Moments of Moral Restlessness

Vladimir Rizov·
Issue 105: Moments
Camera Buff is more than a narrative film with documentary elements; it’s a reflection on the documentary medium that uses the genre itself as a frame through which to consider its limits.
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Jodie Foster in Contact (1997) | art by Tom Ralston

Are We Okay to Go?: Contact and the Purpose of a Pause

Jess Moody·
Issue 105: Moments
This is the moment of a woman alone, shuddering with the g-force and fear; repeating into the static void a fierce whisper to convince them: “I’m okay to go. I’m okay to go.”
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It Was the Look on Their Faces

Nicholas Russell·
Issue 105: Moments
Christopher Nolan's The Prestige paints twin portraits of men driven by ego, by an existential hole that won't allow them to find satisfaction anywhere but on stage.
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Pleasure, Cruelty, Arrogance in Glowing Colors

Julia Sirmons·
Issue 104: Opulence
Both Josef von Sternberg’s The Scarlet Empress (1934) and Hulu’s current series The Great use the opulence of the Empress’ court to tell the story of Catherine's rise as a triumph of light, elegance, and beauty over a twisted, grotesque darkness.
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