“What is perhaps most remarkable about the rise of Nirvana — and the industry’s hastily assembled appellation “alternative rock” — is the belief by many at the time that it had come from nowhere…”
“As much as DAU requires certain knowledge of XX-century history and arts, its key element is the subjective, the emotional, even the intrusion. And this can be the game changer the future needs.”
In the Vague Visages Writers’ Room on Slack, freelancers were asked to comment about their favorite new wave films from any international movement.
Love Is Love: Peter Putzel Marries FilmStruck
“Lang’s film becomes a committed act of social justice advocacy, raging against its enforced limitation, and striving to break the formal apparatus that could often be employed to constrain Classic Hollywood cinema.”
An Essay by Marshall Shaffer
“Between ‘Elizabethtown,’ ‘Marie Antoinette’ and ‘Spider-Man 3,’ Dunst’s life and art begin to imitate each other.”
Interview by Marshall Shaffer
“He may be suggesting that emotional and social anxiety is widespread and prevalent, but the key distinction is that not everyone can translate these uncertainties into comedy gold.”
“‘L’Atalante’ is a movie defined by it moments, images and emotive strength, not its ostensible plot.”
Devious Dialogues: A Horror-Themed Column by Mike Thorn and A.M. Novak
“‘Cameraperson’ is about genuine human connections, about the elements that connect us all, regardless of culture, geography, race or language.”
“‘I Am Not Madame Bovary’ brilliantly executes its high-concept, formal experimentation perfectly. In doing so, it embodies a vision that harmonizes the theoretical with the actual.”
A.M. Novak and Mike Thorn Talk ‘Friday the 13th’!
“As a ‘purely experimental film,’ ‘Voyage of Time’ is ultimately an extreme, sensory experience.”
“The lucidity and frankness with which this new wave of filmmakers can dissect their own lives speaks volumes to their talents, boding well for their efforts to come.”
“Andrea Arnold’s work encapsulates the liminal stage of feminine adolescence.”
“More than any of Scorsese’s own cameos, his music accompanies viewers as they watch, as if he were watching along with everybody else.”
“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.'”
“With ‘Raging Bull’ and ‘The Aviator,’ Martin Scorsese perfects a configuration of the biopic as self-recognized fiction.”
