by Lawrence Garcia

#KickingtheCanon by Lawrence Garcia Film

Deep Red | Dario Argento

April 11, 2019

In Dario Argento’s Deep Red, the piercing visions of a Jewish-German telepath (Macha Méril) serve as an embodiment of this Italian master’s worldview: to look is to know, and to know is to feel. As in Michelangelo Antonioni’s Blow-Up before it, a murder (here it’s Méril’s imperilled seer) drives the wanderings of David Hemmings’s would-be…

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#KickingtheCanon by Lawrence Garcia Film

A City of Sadness | Hou Hsiao-hsien

If A City of Sadness represents Taiwanese director Hou Hsiao-hsien’s greatest achievement to date — an assessment that its Venice Golden Lion and long-standing reputation would seem to support — this is in part because Hou’s oblique, elliptical approach to narrative creates an astounding frisson with the film’s…

February 16, 2019
#KickingtheCanon by Lawrence Garcia Film

All That Jazz | Bob Fosse

“This is the feverish, painful expression of a man who lives in mortal fear of his own mediocrity,” concludes Dave Kehr’s negative Chicago Reader review of All That Jazz, Bob Fosse’s penultimate directorial feature. And it certainly is — that’s what makes it so glorious.…

January 19, 2019
#BlockbusterBeat by Lawrence Garcia Film

Spider-Man: Into the Spider-Verse

Tired of superhero origin stories? Spider-Man: Into the Spider-Verse is here to fix that. The film’s nominal hero is Brooklyn teenager Miles Morales (Shameik Moore), who’s bitten one day by a radioactive spider and, well, you know the rest. Or at least you think you do.…

December 20, 2018
#StreamingScene by Lawrence Garcia Film

Dovlatov | Alexey German Jr.

Dovlatov observes six days in the life of the eponymous Russian writer (here played by Milan Marić), beginning on November 1, 1971. That compressed timeline suggests a film of granular detail, a work attuned to the quotidian ins and outs of Sergei Dovlatov’s daily…

December 3, 2018
#StreamingScene by Lawrence Garcia Film

The Wild Boys | Bertrand Mandico

The Wild Boys opens with a shimmering black-and-white title card, an homage to Kenneth Anger’s Fireworks, and voiceover that soon takes the viewer back to the violent origin of this delirious, gender-bending tale. Fueled by an impulse dubbed only “TREVOR” (which may stand in…

November 19, 2018
by Lawrence Garcia Retrospective

Hotel by the River | Hong Sang-soo

Even for a career with no discernable lack of winter pictures (cf. The Day He Arrives, The Day After), Hotel by the River stands out as Hong Sang-soo’s coldest film to date. Set in a curiously unfrequented hotel by the Han River, in the…

October 26, 2018