In Kelly Reichardt’s masterful 2013 meditation on terrorism Night Moves, we’re slowly introduced to a trio of disaffected young people staging a dramatic intervention: the explosion of a dam. Memorably, and in true Reichardt fashion, that explosion, which by all standard narrative conventions should occupy the film’s central spot, registers in the narrative instead as a muted, distant noise.More
Do films have to be watched in their entirety? Is that a heretical question even to ask? Is it cinema if you only watch half?
A friend and I were pondering this earlier today, perplexed that more people weren’t showing up for her online programming.More
Irresistibly billed as “the first Iranian vampire Western,” A Girl Walks Home Alone At Night, writer/director Ana Lily Amirpour’s first feature is a strikingly shot, glacially paced wonder.
Its tagline could’ve included a range of other influences: noir, especially, the early 80’s indie sensibilities of Jim Jarmusch, occasionally the uncanniness of Lynch.More
From its arthouse title to its opening act, drawing heavily on Dario Argento’s color palette and prog-rock scores, The Strange Color of Your Body’s Tears announces itself as a meta-genre movie, aimed pretty squarely at fans of giallo and exploitation, though straddling a line into the uncanny just enough to please the David Lynch and Bunuel fans in the crowd.More
I won’t lie – I’ve always found Roy Orbison kind of creepy. And I say this as a fan.
I know “Oh, Pretty Woman” was supposed to make us feel warm and fuzzy in the Julia Roberts film of almost the same name, but it filled with me dread instead.More