Tag: Abel Ferrara

Abel Ferrara Exile Cycle Movie Essay - Siberia Film

Recovery, Survival and Extinction: Abel Ferrara’s Exile Cycle

“Few artists have dreamt more boldly and defiantly in their exile than Ferrara; he has faced up to the dark towers of commerce and coercion, the systemic violence that is rationalized and sanctioned to peak efficiency by the prevailing conditions.”

Tommaso Movie Review - 2019 Abel Ferrara Film

Review: Abel Ferrara’s ‘Tommaso’

“‘Tommaso’ shows Ferrara taking his career in a new direction, and it’s nice to see someone of his stature still making innovative, daring films.”

Siberia Movie Review - 2019 Abel Ferrara Film

Berlinale 2020 Review: Abel Ferrara’s ‘Siberia’

“Ferrara throws everything at ‘Siberia,’ turning it into a playground for emotive relation. But it is Dafoe, his muse, who so thoroughly brings the audience along with the randomness…”

Pasolini Review - 2014 Movie

Abel Ferrara’s ‘Pasolini’: A Poetic Disruption with Great Desires

“By the final act, Ferrara has presented both the man and the legend, but can’t seem to decide which version he wants the audience to remember.”

What Makes a Man: Wounded Masculinity in William Lustig’s ‘Maniac’ Cycle

“In its own histrionic way, the ‘Maniac’ cycle presages a wave of reaction that would draw its power from the patriarchal fear of dispossession.”

You Gotta Act: The Wild Innocence of Melanie Griffith

“With her beauty– but more importantly, her natural ease and irresistible girlishness — Melanie Griffith presented a form of femininity ideally suited to a specific time of the late 1980s.”

Secret Defense: A Close-Up on Arnaud Desplechin’s ‘Esther Kahn’

“Phoenix delivers an opaque but strikingly physical performance, reminiscent of the women in Charlie Chaplin’s films.”

The Woman and the Puppet: On Abel Ferrara’s ‘New Rose Hotel’

“Her power lies in her opaqueness.”

What I Learned from Martin Scorsese’s ‘Life Lessons’

“Martin Scorsese’s ‘Life Lessons’ benefits more from analysis as a self-standing artistic expression than as a counterpoint to the other installments of ‘New York Stories.'”