The first image of Agnes Varda’s 1965 film Le Bonheur (meaning “happiness” in English) is that of a yellow sunflower beaming in the radiant light of a perfect summer day. As the opening credits appear on-screen, we cut to another similarly-situated sunflower, and then to a third, but this last flower appears somewhat droopier than the others. Cutting back and forth between this languid flower and its perkier counterparts at first reads as playful, but as the speed of the cuts…
…Casablanca is not just one film. It is many films, an anthology. Made haphazardly, it probably made itself, if not actually against the will of its authors and actors, then at least beyond their control. And this is the reason it works, in spite of…
Over a decade before the Coen Brothers released their neo-noir, blood-soaked vision of Americana, Blood Simple, Terrence Malick’s Badlands etched into the public consciousness a particularly languid flavor of Midwestern cruelty. Loosely based on the true story of Charles Starkweather and Caril Ann Fugate’s…
