A Musical Necropic: Todd Haynes’ ‘Superstar: The Karen Carpenter Story’
“It’s done critically, sympathetically and with a demand from the viewer to take responsibility for their role in the story, too.”
Vague Visages Is FilmStruck: Jeremy Carr on Federico Fellini’s ‘La Strada’
“Fellini’s films often flourished with acute ruminations on life and society, but rarely would his work achieve this degree of pure emotion.”
Uncovering the Mysteries of Andrei Tarkovsky’s ‘Stalker’
“‘Stalker’ is less concerned about the actual plight of these men and more about the philosophical questions their journey brings to the forefront.”
Once Upon a Time… Victor Erice
“His filmography is framed nostalgia. It’s a journey to the past and an ode to the imagination.”
My Summer of Kirsten Dunst: Volume 2
“Dunst’s roles from 1998 to 2002 illustrate her need to conform to studio standards of femininity, balanced with her own personal desire to stretch her wings as a performer.”
Instant Cult Classic: Gary Michael Schultz’s ‘Vincent N Roxxy’
“Either you love the squeaky rollercoaster or you’ve got no time for the squeaky rollercoaster. Welcome to the carnival.”
The Cold Light of Day: On Agnès Varda’s ‘Le Bonheur’
“Nothing in ‘Le Bonheur’ produces lasting unhappiness, and to approach it in a spirit of contemplation, rather than one of judgment, may allow the movie its most favorable terms of engagement.”
A Light of Pure Gold: The Ideal of the Painter in Old Hollywood’s Waning Days
“The filmmaker continues to dream of the painter’s Arcadia, however illusory it may be.”
Sheer Heart Attack: Edgar Wright’s ‘Baby Driver’
“With ‘Baby Driver,’ Wright delivers a delightful, mid-summer cinematic treat.”
‘Beyond the Lights’ and ‘Into the Forest’: Nina Simone as a Tool for Female Empowerment
“The female gaze, when expanded and reproduced through various media, can be a significant tool of empowerment for exploring and blending different artistic themes and forms.”
Review: Geoffrey Orthwein and Andrew Sullivan’s ‘Bokeh’
“It’s ‘The Leftovers’ minus the chainsmokers, angry locals and cryptic dialogue.”
Spectatorship and the Camera: Sophie Hyde’s ’52 Tuesdays’
“With a masterful sense of direction, ’52 Tuesdays’ triumphs by turning the camera around to create a self-reflexive and unique film.”
Review: Brent Bonacorso’s ‘You Get Me’
“‘You Get Me’ is predictable and often frustrating, but the visuals leave a lasting impression.”
My Summer of Kirsten Dunst: Volume 1
“Unlike former child stars Natalie Wood or Margaret O’Brien, Kirsten Dunst’s adolescent career is a state of becoming.”
‘The Bling Ring,’ Recontextualized in Post-Election America
“As the time between 2008, 2013 and 2016 grows comparatively smaller, the film will only loom larger.”
Vague Visages Is FilmStruck: Bill Arceneaux on Samuel Fuller’s ‘The Steel Helmet’
“Answers don’t come easy, but they do come if you’re looking for them.”
‘Colossal’ and the Monstrous Pettiness of the Male Ego
“Maybe she can finally make a life that’s actually hers.”
Vague Visages Is FilmStruck: Jeremy Carr on Andrei Tarkovsky’s ‘Solaris’
“The film goes beyond strict and narrow generic classification and touches upon something universal, something profound about undying affection and the unreliability of reality.”
Netflix from 5 to 6: Daniel Barber’s ‘The Keeping Room’
“There’s no blaze of glory, but rather a collective maturation. Patience is their virtue.”
There’s Something Inside You: Nicolas Winding Refn’s ‘Drive’
“It’s the subliminal drive toward the realization of his ideal self that evokes his potential.”