Wednesday, September 30, 2009
Read my full reviews here at The L Magazine.
Monday, September 28, 2009
Read my full review of Sweetgrass here at Not Coming to a Theater Near You.
Thursday, September 24, 2009
Read my full review of Private Century here at The L Magazine.
Michael Almereyda’s Paradise begins with a slow tracking shot taken from a moving walkway in an airport. It’s a contradiction of movement and stasis: the camera and its holder are completely still, yet the ground beneath them perpetually propels them forward. Later in the movie, a character will comment that they love natural disasters because they “like that the earth is changing and moving.” Even the modernist architecture of the passageway—cool and steely lines converging in a distant vanishing point and whose hues fluidly shift from blue to green to purple—lends an aura of science-fiction to the shot, as though we are more than moving through a single corridor, but traveling beyond the liminal boundaries of our everyday world.
Wednesday, September 09, 2009
Read my full review of Jeanne Dielman, 23, qui du Commerce, 1080 Bruxelles here at The L Magazine.
The history of film is anything but set in stone. New discoveries, much-needed restorations and increased availability often change our perspective on topics long since thought to be behind us. The most exciting and intriguing part of Kino's new 3-DVD box set Gaumont Treasures: 1897-1913 isn't the work of either of the already celebrated filmmakers—Alice Guy (among the very first women filmmakers) or Louis Feuillade (the stylized master of series such as Les Vampires and Judex)—but a relatively obscure name whose films have been absent from shelves, and whose legacy has unfortunately been overlooked: Léonce Perret.
Read my full review of Gaumont Treasures: 1897-1913 here at The L Magazine.
Read my full review of John Cassavetes' Husbands here at The L Magazine.
Read my full review of Hong Sang-Soo's Woman on the Beach here at Coupe Cinema.