London Film Festival Review: Jim Jarmusch’s ‘Paterson’
“‘Paterson’ is about that circularity of life that simultaneously brings about sparks of creativity and moments of reassuring stability.”
Phuong Le
Phuong Le (@smallnartless) studies film at Manhattanville College and interns at Film Comment. Her writings can be found at Movie Mezzanine, Sound on Sight as well as her own blog, Cinematic Gloom. When not writing, she enjoys caring too much about David Bowie.
London Film Festival Review: Bavo Defurne’s ‘Souvenir’
“The plot of ‘Souvenir’ can certainly raise eyebrows, but it is this very absurd quality that adds to the film’s tongue-in-cheek charm.”
London Film Festival Review: Olivier Assayas’ ‘Personal Shopper’
“To say that ‘Personal Shopper’ unveils Stewart giving the best performance so far in her career is scarcely a hyperbolic claim.”
Film Beat: ‘In Dreams’ from David Lynch’s ‘Blue Velvet’ (1986)
A Column by Phuong Le
Back to the Beginning: John Cassavetes’ ‘Shadows’ (1959)
The Fifth and Final Installment of “Tightrope Cinema: John Cassavetes’ Highwire World” by Phuong Le
Film Beat: Cafe Scene from Jean-Luc Godard’s ‘Vivre sa vie’
“After my first viewing of ‘Vivre sa vie,’ I closed my laptop, went out and chopped my waist-length mane to a bob. Movies have always had that mysterious power of making me feel as if I have lived all the lives I see on-screen.”
Laughter in the Dark: John Cassavetes’ Comedies
Part 4 of “Tightrope Cinema: John Cassavetes’ Highwire World” by Phuong Le
Guns and Dreams in John Cassavetes’ Noirs
An Essay by Phuong Le
This House Is Not a Home: On John Cassavetes’ Troubled Families
An Essay by Phuong Le
The Theater of Fear: John Cassavetes’ ‘Opening Night’
“Throughout ‘Opening Night,’ reality and make-believe are interwoven into a mass of chaos.”