Film
The best part of the Silver/Ursini book is the padding, the last forty pages in which the two authors go past “Double Indemnity”‘s release to contextualize it within the generic stream of “film noir”.
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“Sasquatch Sunset”‘s directors claim they were interested in respecting the universal connection between man and nature, albeit with plenty of humor.
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“Hollywood’s Imperial Wars” is at its best as a bold and informative survey of the movies that the studios felt it was “credibly possible” for them to make after Vietnam.
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Whatever else 2024 has in store for queer filmmakers and audiences, there’s likely to be nothing else that’ll put a smile on your face quite like “The People’s Joker.”
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“Amar Singh Chamkila” doesn’t hit the compelling heights of “Highway” and “Tanasha,” but the director Imtiaz Ali successfully infuses — within the limits of the musical biopic — a buoyant, rebellious spirit.
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If “La Chimera” is a bit harder to penetrate than the director-writer’s previous works, it boasts some captivating passages and raises pertinent questions about art, history, globalism, and national identity.
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Who would predict that this perfectly calibrated tale would be yanked out of its early 20th century setting and become dystopian science-fiction?
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In this dreamworld, the politics don’t matter. It’s the artfully gruesome spectacle that counts — that and the hackneyed Hollywood storyline about the hardened veteran mentoring the neophyte through an initiation into the harsh realities of the profession.
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This is a tense morality play, with twists odd enough (and a palette dark enough) to sustain a noir-inflected thriller of almost two hours.
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Transformative narratives shape the documentaries in the 40th annual Wicked Queer Film Festival.
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Jazz Perspective: Zev Feldman – A Sherlock of a Producer with an Impressive Portfolio