Christine McPherson (Saoirse Ronan) — the preternaturally calm, quirkily rebellious titular protagonist who has renamed herself Lady Bird — seems awfully familiar. As the heart of Greta Gerwig’s adorkable coming-of-age-in-Sacramento writing/directing debut, her mannerisms, her slightly antiquated vernacular and social gestures, her entire mode of qualified suburban angst and dubiously offhand witticisms call to mind something or someone we seem to know.More
Hearing Guy Maddin narrate My Winnipeg last week was important to me.
I remember trying to watch The Saddest Music in the World early in high school, when I was digging up anything people on movie forums described as “weird,” but lacked any of the cultural touchstones to understand what I was seeing.More
If Howard Hawks was right in saying a good movie is “three great scenes and no bad ones,” how many great scenes does a TV show need? I’ve been wrestling with that question ever since the first season of Channel Zero went off the air.More
There’s no corner of cinema so explicit about its role as an act of remembrance than documentary film. Any film, in any genre, carries within it an aspect of memory — as a material object that dates from a certain moment and reflects its conditions, and as something more ethereal, something personal, cultural, and collective, subject to revisiting and remapping.More
Recollection or repetition?
Kierkegaard asks this question repeatedly. Recollection is pagan and, more specifically, Greek, representative of all the moral failure of the ancient world. Repetition is Christian and representative of the positive and the good. Recollection is backwards-looking, repetition looks forward.More
It’s fundamentally irritating when someone is dead set on shocking you. Full of pride and vague malice, it’s a weirdly authoritarian impulse – a gesture of control that both insults you by assuming you’re a delicate flower who will wilt under the awesome power of the image, while simultaneously flattering itself by imagining the spectacle is so awesomely powerful in the first place.More
It’s so hard to pin down, or even to make out the boundaries of, the feelings that horror movies have towards the late adolescent white woman, aged roughly 17-23. Maybe hatred is too strong of a word – it’s more a mixture of envy, contempt, worship, and desire.More
Since its founding in 1984, the aptly-named Oddball Films has constituted one of the stranger spaces in the cinema world. An archive as interested in orphan home video, Italian psychedelic cartoons from the 60s, and instructional bumpers about hygiene intended for American classrooms as any neorealist classic or lost masterpiece, it was the brainchild of Stephen Parr, who passed away on October 24th.More
Spooktober officially came to an end 2 days ago. Let’s wrap this business up!
You can find this year’s previous entries here, here, and here. I did not meet the criteria I set out for myself this time around, and I closed out Spooktober with a movie from the man who also brought us City Slickers.More