Whether lost in the pregnant pause of a phantom victory, swamped by the rush of bizarre sex appeal, or struggling with the desire to follow a new best friend but kept back by the ironclad claims of home, Pee-wee understands that dreams are the basis for strange journeys.
On a plot level, Indiana Jones and the Last Crusade is about Indy saving his father. But on an emotional level, it is about Indy learning how to love his father, to accept his father’s guidance, and to discover how much his father already loves him.
In Laura Poitras’ All the Beauty and the Bloodshed, the act of witnessing becomes an act of solidarity, in joy and of pain. This is what a cinema of more life looks like.
I am thinking of films as haunted houses. I am thinking of Orson Welles’ The Magnificent Ambersons.
The History of the Seattle Mariners is the first cultural object I’ve encountered that painstakingly constructs a specific, relatable history—that of a single baseball team—only to use that construct to then gesture towards the futility of completion and the locks storytelling puts on our collective subconscious.
“Deep listening” to Malick is valuable, but only so much in that it reminds us that artists are just humans doing their best to be in the world with other humans.
Blue Velvet's darkness and degeneracy and Oedipal weirdness serve a bigger and more beautiful story; a story about love, coming of age, redemption, hope.
On watching Richard Linklater's Everybody Wants Some!!
For months I’ve been thinking about sequels and second chances, about Paul Newman but also, increasingly, Tom Cruise.
What Yentl is about—more than it is about Judaism, gender roles, sensitive short kings, the fabric of love, or the Mulan paradox (that is, whether a straight man’s gay desires are redeemed as hetero by the revelation of his love object as a woman)—is Babs’s face.
Peyton Reed's Down With Love cleverly uses exaggeration, artifice, and opulence to rocket it past pastiche and into a new space where it utilizes the genre’s shenanigans in order to comment on the genre itself.
Don’t Look Now is a story about vision. The things we see, the things we don’t, the things we see without using our eyes.