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by Paul Attard Retrospective

The Day a Pig Fell Into the Well | Hong Sang-soo

October 18, 2018
Day Pig

A retrospective look at the first feature by any major auteur tends to bring-out some desire for a grand analysis of their work — and often, looking at the beginnings of a certain style and how it’s been refined over time can be of more interest than assessing the quality of said film itself. With 1996’s The Day a Pig Fell Into the Well, Hong Sang-soo is not yet employing his signature, intuitive zooms, but he is dealing with what…

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#KickingtheCanon by Ryo Miyauchi Music

Outkast | ATLiens

July 14, 2015

For an idea of where Andre 3000 and Big Boi’s heads were at after their first album, look no further than the infamous 1995 Source Awards. The massive New York crowd booed Outkast as the duo took home the Best New Rap Group award. But they didn’t go down without a fight, with Andre giving one historical address: “The South got something to say.”…

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#KickingtheCanon by Tom Elrod Film

The Cable Guy | Ben Stiller

June 15, 2015

Though it’s not typically thought of as part of the Judd Apatow canon, The Cable Guy (which was co-written by an uncredited Apatow, who also produced, and directed by his friend Ben Stiller) nevertheless contains many of the same concerns of Apatow’s later comedies: grown men shaped (and warped) by pop culture, a great deal of anxiety about “growing up” and the role women play in that dynamic, and the ways in which male friendship offer a potentially destructive obstacle…

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#KickingtheCanon by Chris Mello Film

Scream | Wes Craven

March 2, 2015

Scream’s reputation as the harbinger of self-aware horror is not entirely fair to its predecessors. The horror genre, and slasher subgenre in particular, had been aware of and commenting on its tropes since they began to solidify in the early 80s. Director Wes Craven himself first went reflexive in 1994, with New Nightmare, a much more metaphysical metatext than Scream. But the effects of the latter film’s particular reflexivity were ultimately more immediate, unleashing a wave…

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#KickingtheCanon by Carson Lund Film

A Summer’s Tale | Eric Rohmer

January 26, 2015

Some of Eric Rohmer’s sharpest skewerings of male psychology take as their focus guys defined by disjunctions between appearance and intention — take, for instance, the exceedingly suave manipulator in Claire’s Knee, or the willfully standoffish oaf from La Collectionneuse who nonetheless craves affection. In this regard, Melvil Poupaud’s Gaspard, from A Summer’s Tale, is one of Rohmer’s most poignantly contradictory creations. “I don’t enjoy observing people,” he broods at one…

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by Tina Hassannia Retrospective

Life, and Nothing More… | Abbas Kiarostami

September 5, 2011
Life and Nothing More

When Abbas Kiarostami made Where Is the Friend’s Home?, he had no intention of making a trilogy. But his next two films, Life, and Nothing More… and Through the Olive Trees, were coined as such by critics; each exists as a fiction film within the other, and all are centered around the village of Koker. Friend’s Home is treated as a fiction within the world of Life, while a scene from Life is seen being filmed in Olive Trees. The ‘Koker Trilogy’ tag stuck,…

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