Some thirty years ago, in “Dream of the Wise Child”, Ann Douglas noted that a considerable swath of commercial literature from the 1970s was given over to the repeated but often ignored proposition that children are not innocents so much as malign creatures, intransigently evil.
At one point in Wild Grass, the protagonist Georges is typing at his desk late at night. As Mark Snow’s wistful music plays, the camera commences a slow tour of the room, encompassing a picture, a lamp, bookshelves, and an African mask on the shadowy wall. When it reaches the heavily draped window, though, we realize that time has been compressed; suddenly it is morning outside
This completes three years of the column; it seems like a good time to run the film backward, to retrace the process of composition, more or less: to lay bare the mechanism, as the Russian formalists liked to say, and to make the operations visible as operations.
The Ghost Writer concludes like Chinatown: a traffic accident, curious passersby, a mood of fatalism. Private detective Jake Gittes intends to do good in Roman Polanski’s 1974 thriller– “I want the big boys that are making the payoffs”–but it all goes wrong.
Film Quarterly remembers the career of legendary actor Dennis Hopper with this review of Easy Rider from our October 1969 issue.
Jane Campion, Dusan Makavejev, and an interview with Leonard Retel Helmrich.
READ: The Struggle for Space, Brown vs. Brawne: Bright Star, The Lonely Road
Try this for sheer unexpectedness. After their Christmas dinner at Wentworth Place in Hampstead Village—it is 1818—the fatherless Brawne family and their guest, Mr Keats, settle down to enjoy a parlor game.
By common account, Avatar asks the great question of contemporary art, the one hip-hop has been asking unfailingly for some time: will we put up with a creepy worldview just because the sensuals are cool?
The Pedro Costa retrospective (September 25-October 4) at London’s Tate Modern was admirably curated. In addition to eight films by this brilliant Portuguese director, other works were screened to provide context, background, or food for thought
“It’s a little early in the morning for explosions and war,” Butch (Bruce Willis) tells his girlfriend Fabienne (Maria de Medeiros) in Quentin Tarantino’s Pulp Fiction. He might be right; it depends on your idea of fun.