On September 27, 2014, the CW Network cut animation out of their Saturday morning bloc. They were the last network to do so. It was replaced with live-action family-friendly series, mirroring a general trend away from expensive, skilled labor needed for cartoons and toward…
Antonio di Benedetto’s novel, Zama, is renowned for its simplicity, with most paragraphs a mere sentence in length; Lucrecia Martel’s film adaptation is full of detail. Where di Benedetto cuts descriptions short (even principal characters are dubbed “mulatto”), Martel fills every extended shot with sumptuous color…
Hong Sang-soo‘s first black-and-white film since 2011’s The Day He Arrives (which is indeed quite a while, considering the rate at which he works), The Day After comes at a time when Hong’s films have garnered unprecedented levels of attention. Veteran festivalgoers are by…
Ben Russell, previously known for travelogues and semi-ethnographic hallucinatory trips, plays his latest feature straight: Good Luck is a good deal longer than most of his previous films, but only because his smoke and mirrors are replaced with steady extended shots of people at work and at play.…
The name of Dotham, Alabama comes from Genesis and 2 Kings: The Dothan of the Bible is where Elisha sees his vision of flaming chariots, conjured as a miracle. The town has seen no miracles. Instead, its day-in and day-out history of sin has become…
The American Western — usually identified by its action, machismo, and its oftentimes flimsy portrayal of Native American genocide — has also always dealt with borders. The Mormons of John Ford’s Wagon Master drift into the territory of Utah sixteen years before its statehood in order to find…
Philippe Garrel’s career has certainly taken an odd turn. The director, who first made waves in the experimental Zanzibar Group after Mai ’68, now sits comfortably tracing the ins and outs of fidelity, often using his children as his stylo. Lover for a Day…
Despite its 2012 release, Bad Film captures a Sion Sono before he reached international acclaim; before his particular brand of otaku-influenced action films; and before his unabashed revelry in exhibitionism and voyeurism. It was filmed back in the mid-’90s, way before Sono’s breakout Suicide Club, and…
Though lauded today for lending traction in the then up-and-coming genre of jazz fusion, In a Silent Way was received as heresy on its release. Miles Davis’s most recent album, Filles de Kilimanjaro, had been recognized by jazz critics as a tour-de-force for its abstract, bluesy riffs and staunch…
The title, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, gives away this film’s clinical fascination with the everyday by defining the central character only by where she lives. With about as much narrative as Michael Snow’s Wavelength, director Chantal Akerman creates a static portrait of two…
