In a world of near-constant commercial imperatives, the library’s very existence is something of a miracle. It’s easy to forget just how rare it is to simply exist in a space where you aren’t expected to purchase something until you’re standing in one.
It’s almost Thanksgiving and Sean Baker’s The Florida Project is holding fast to its top-tier position on many folks’ Best of 2017 list (mine included), rightfully generating some awards talk. His Tangerine was one of the very best films of 2015.
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.
Houda Benyamina is a force to be reckoned with, impassioned, outraged, and determined to fuck things up.
This would be clear enough from the director’s masterful 2011 short The Road To Paradiseand her electric (Cannes d’Or-winning, Golden Globe-nominated) 2016 feature Divines, but Benyamina has wasted no time affirming it every chance she gets.
The start of the new year is, for better or worse, a moment to pause, consider, and resolve. If you’re like me, most of those resolutions won’t amount to much. It’s arbitrary on a number of levels and a bit silly (no, you’re not going to start doing pushups every morning, and no, you’re almost certainly not taking up hang-gliding), but it’s as good a reason as any to tackle something new.