Film
Over 75 segments from the Berlin Wall have found their way to the U.S., providing the subject for The American Sector, an amusing, quirky, and meditative road-trip/scavenger hunt.
The Dig is suffused with a very English (and problematic) sense of history: why it matters, how it can be taken for granted, and the odd way that certain elements of the past are valorized while others are kept buried.
This film offers a much more nuanced and self-reflective conversation about authorship, authenticity, creative inspiration, and the role of film criticism than any of its detractors are willing to admit.
Defiant and tonally offbeat, French Exit mirrors, in a sense, its female protagonist, who doesn’t give a damn what the world thinks of her.
Sundance’s strengths for me this year (as in the past) were the festival’s documentaries.
“Everybody in this industry right now is looking for like, female beards to rescue them, but that’s not what we’re here for.”
I Blame Society may put off some enlightened neoliberals, but it is a fun little B-movie with killer insight and attitude to spare.
The excitement of these films – perhaps the word frisson would not be amiss – is that these women are envisioned as explorers in the land of Eros, map-makers of new terrain, discovering and inventing love as they go.
What we need is to see the world through the eyes of Black activists, even though that might be frightening to White audiences reluctant to deal with the unmediated truth.
Arts Remembrance: Christopher Plummer, 1929-2021
It is difficult to think of a harder-working actor or one more devoted to his craft.
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