The opening sequence of L’Atalante depicts a wedding procession through a provincial village. The natural environment is austere, and so are the spectators’ clothes and demeanor, more suited to a funeral than a wedding — all of which make the bride’s ornate gown, pale face, and blonde hair that much more otherworldly and out of place.More
For all of our cultural emphasis on the lonely, solitary gambler, awaiting one big score or trying to dig himself (it’s always a him) out of a hole of his own making, it’s also true that gambling can create families of sorts by definition.More
Anthology films, by their nature, are uneven, and so inherently disreputable. But when they work, they’re like a gift to viewers who really don’t want to sit through a 3 hour Marvel movie only to discover it’s also kind of uneven.More
There are no doubt a number of reasons why the name Germaine Dulac is not as immediately familiar to most folks, including cinephiles, as her contemporaries Salvador Dalí, Luis Buñuel, or her collaborator-turned-detractor Antonin Artaud. Here are two: the casual misogyny of the Surrealist Boy’s Club, and the fact that Dulac’s films don’t really fit the Surrealist mold very well in the first place.More
His short, similarly though more enthusiastically titled Crash!, has the additional bonus (or novelty, at least) of featuring author J.G.More
Earlier entries in the Vegan Horror series have tended to focus on films with an animal rights subtext (even if their directors occasionally felt compelled to shout out, “It’s about meat”). The whole notion is founded on the idea of mining the signifiers to point out the underlying logic and related concerns.More
Released just over five years ago, to decidedly mixed reviews, Ben Wheatley’s inscrutable Kill List now plays like a disjointed summary of our times.
Wheatley‘s more recent J.G. Ballard adaptation High-Rise might seem the more of-the-moment production, with its Cronenbergian fixations and bonkers class-consciousness.More