There’s a near-consensus among critics that 2018 was an unusually strong year for film, and I can’t disagree. My list for the year is heavily tilted to the 4-star and above, even with some glaring gaps in the mix – I missed BlacKKKlansman, for instance; I’m waiting to see Roma screened at the Castro in 70 mm, like the cinephile tool I am; I didn’t see the new Claire Denis, or the new Andrew Bujalski, or the new Hang Sang-soo, or the new Frederick Wiseman.
Paul Schrader’s bracing, bruising First Reformed is the filmmaker’s most urgent offering in years, and one of 2018’s best. A warped retelling of Bresson’s Diary of a Country Priest filtered through Schrader’s trademark fixations, First Reformed focuses on something curiously absent from contemporary stories, even as it animates many moments of our public and private lives: despair at climate change, and almost paralyzing anxiety over the world we leave behind.
One of cinema’s great ironies is that, for all the talk of representation and making the hidden visible, much of its power comes from withholding instead. Certainly this is true of slow cinema, of that poetic tendency which, in his landmark 1972 treatise, Paul Schrader called “the transcendental style in film.”
Richard Linklater has built an entire career as a study in points that do not quite intersect, moments that do not match, but somehow make complete sense placed together.
That’s an impressive feat for a guy who followed up the meandering, anarchic Slacker with the glazed hijinks and pre-collegiate accessibility of Dazed and Confused; the discursive, achingly romantic Before Sunrise (a romance he, with Julie Delpy and Ethan Hawke, methodically chips away at in its sequels, constructing the greatest trilogy since Ray’s) with Eric Bogosian’s quasi-punky SubUrbia, followed promptly by a heist film (The Newton Boys).
Chet Baker is not an unlikely candidate for a biopic.
The very image of the dope-addled West Coast jazz cat undone by his vices, his biography is full of, shall we say, “incident.” Still, there’s a lingering sense of either lost promise or also-ran status that separates him from the usual towering figures we find in such films.