Seeing the Giallo Truth in Dario Argento’s ‘Four Flies on Grey Velvet’
“One of the great characteristics of ‘Four Flies on Grey Velvet’ and numerous other giallo films is their willingness to destabilize traditional notions of subjectivity.”
An Interview with Independent Filmmaker Caveh Zahedi
“I like failure because it’s spiritualizing. We think we know what will make us happy, but we’re usually wrong. Failure forces us to rethink our salvational strategies.”
The Immediacy of Design: An Interview with ‘Good Time’ Production Designer Sam Lisenco
Sam Ankenbauer and Production Designer Sam Lisenco Discuss ‘Good Time’
Parody of Power: Benny and Josh Safdie’s ‘Good Time’
“By exposing the falsehood of one’s presumption of power, the Safdies awaken viewers to the inescapable consequences of their actions and weaknesses, along with the vulnerability of their own fate.”
Living in the Model: The Comforts and Constrictions of Civilized Society in Tim Burton’s ‘Beetlejuice’
“Indeed, in a film that so gleefully satirizes and undermines any attempts to impose order on existence, Betelgeuse can be regarded as a subversive savior for the families of Ronald Reagan’s America as much as a harbinger of destruction.”
Vague Visages Writers’ Room: Weekend Vibes 3.30.18
Weekend Vibes is a Friday column about streaming recommendations, new release hype and entertainment events.
Review: Max Winkler’s ‘Flower’
“The story feints towards transgressive ideas but lacks the commitment for maximum impact.”
Vague Visages Writers’ Room: Formative Films
In the Vague Visages Writers’ Room on Slack, freelancers were asked to comment about films that influenced their formative years.
Vague Visages Is FilmStruck: Michael Powell and Emeric Pressburger’s ‘The Red Shoes’
“‘The Red Shoes’ dynamically crosses from reality to fantasy, befitting a film that is itself a grand fiction, simultaneously reflecting and critiquing a true reality. That’s the power of cinema — that’s the power of ‘The Red Shoes.’”
Every Fruit Has Its Secret: Ken Russell’s ‘Women in Love’
“‘Women in Love’ maintains, despite the passage of nearly 50 years, a thoroughly modern aura.”
Small Tokens of Faith in John Ford’s ‘The Fugitive’ and Martin Scorsese’s ‘Silence’
“In between Ford’s wide shots and Scorsese’s close-ups, there is an effort by each filmmaker to make faith real.”
Review: Paco Plaza’s ‘Verónica’
“The shrieking masses are right on the money for once. Plaza’s tale of teen possession is powerfully scary.”
Vague Visages Writers’ Room: Weekend Vibes 3.23.18
Weekend Vibes is a Friday column about streaming recommendations, new release hype and entertainment events.
Vague Visages Short Stories: A Delightful Partner by D.M. Palmer
Vague Visages Short Stories #8: A Delightful Partner by D.M. Palmer (Sheffield, UK)
Random Dating: ‘Where the Boys Are’ and the Evolution of Sex in Teenage Cinema
“Merritt establishes herself as more than simply the main character in a bubbly teen film. She presents a progressive face and viewpoint at a time when society was still struggling to evolve.”
Killing the Samurai: ‘Kuroneko’ and the Myths of Imperialism
“Kuroneko’s otherworldly visuals evoke a reality shaped by great and sinister powers, and a world where fate will always scupper the impudent plans of hubristic men.”
‘A Wrinkle in Time’ Missed the Stars but Aimed High
“‘A Wrinkle in Time’ is for kids, and I mean ‘made for kids’ in the supportive definition rather than the usual lazy and disparaging connotation that’s carelessly applied to more lukewarm family films.”
The Comfort of Shared Pain: Ingmar Bergman’s ‘Scenes from a Marriage’
“Bergman doesn’t need tricks because the simplicity of what he’s presenting will cut you to the core if you open yourself up and let it in.”
On Coming Out and the Importance of Representation in ‘Love, Simon’
“Representation matters, and this film matters, even though it’s far from perfect. In times like these, ‘Love, Simon’ should be celebrated.”
Review: Armando Iannucci’s ‘The Death of Stalin’
“In the end, the humor fades away in favor of political machinations, but the film’s killer gags are still numerable.”