“The persona, the artist, the maestro, the ringmaster — one can’t help but bask in the direct, subjective joy and the elegiac reverence for cinema itself.”
“Both Lucas and Lynch’s world views allow for the possibility of personal atonement, and for external peace emerging from inner peace.”
“El Topo’s twisted connotations maintain an enduring, mind-bending eminence, and its aesthetic allure persists because of the unrestrained possibility inherent in all that Jodorowsky does.”
“Some may decry Rosi’s sustained objectivity, failing to appreciate that depiction does not equal declaration or endorsement. But with that, there is in ‘Salvatore Giuliano’ a valuable sociopolitical insight…”
Marshall Shaffer’s 2nd annual #FilmStruckFebruary begins!
In the second part of a three-chapter conversation conducted over months via a large Google Doc, Manuela Lazic and Adam Nayman discuss acting and how film critics interpret performances.
“Fellini’s films often flourished with acute ruminations on life and society, but rarely would his work achieve this degree of pure emotion.”
“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.”
“Roberts believes in the subtle force of his nice-as-pie protagonist, and he is right: Katie’s light outshines the blue Arizona sky.”
“Like his characters, Demy’s camera in ‘Lola’ moves everywhere but goes nowhere; it’s a paradoxically headlong hesitation.”