Author: Film Quarterly

Under Fyre: Debt Culture in the Streaming Era

In what trade papers termed an escalation of the so-called streaming wars, Hulu “rush released” Fyre Fraud (Jenner Furst and Julia Willoughby Nason, 2019) on January 14, 2019, four days before Netflix debuted Fyre: The Greatest Party That Never Happened (Chris Smith, 2019). Both of these documentaries, each racing to be first, provide insider knowledge about the infamous Fyre Festival in the Bahamas, a fraudulent luxury concert experience turned notorious social-media disaster. Festivalgoers, who had paid anywhere from $450 to $250,000, went to the Bahamas expecting the “once-in-a-lifetime musical experience” promised by Fyre’s glitzy advertising, only to find a logistics and public-relations disaster: canceled musical acts, disaster-relief tents as accommodations, and dysfunctional management.

Smoke and Mirrors: The Bio-Con Documentary in the Age of Trump

Back in 2016, when Donald J. Trump was elected president of the United States, there was considerable public discussion about whether or not he would be able to govern by trafficking in the same falsehoods and public prejudices that he peddled as a candidate. To much horror and dismay, four years later, he has proven unequivocally that he can. Popular film and television have answered this mass erosion of truth and justice with narratives about powerful deceivers and sophists. Some, such as festival hit Bad Education (Cory Finley, 2019) and Ryan Murphy’s The Politician (2019–), are vehicles for political commentary, while others, such as Evan Peters’s story line in Pose (2018–), directly link to Trump.

Paris in the Dark: A Conversation with Eric Smoodin

If you had happened to attend the December 8, 1929, screening of Fox Movietone Follies (David Butler and Marcel Silver, 1929) at the opening of the Moulin Rouge cinema in Paris, you would certainly remember the raucous audience that surrounded you. If reports are to be believed, you might have been among the patrons outraged by the poorly written French subtitles—“deplorable” French, really. You may have joined others that night or the following weekend in vandalizing chairs and throwing pieces of furniture at the screen, with shouts of “Shut up” or “In French!” But maybe you were there for a romantic rendezvous, in which case the film and the music and the subtitles mattered a lot less than having your evening marred by unhappy, snobbish viewers. Whatever the hypothetical situation, imagining yourself as a willing participant in Parisian film culture from the era of early sound cinema to around 1950 is nearly inevitable while reading Eric Smoodin’s Paris in the Dark: Going to the Movies in the City of Light, 1930–1950.

When Is an Editorial Not an Editorial? The Covid-19 (Quarantine, Era 1) Edition

There is no such thing as business as usual now. And most certainly, no film as usual: every festival canceled, every movie theater dark, as the names of the closures and cancellations bring sadness and grief for curators and filmmakers, film critics and distributors, cinema owners and workers, film studies professors and students, and, yes, their audiences—all, of course, as of print time.