We have been publishing Reverse Shot for 15 years, and when it comes to maintaining our optimism and enthusiasm for the medium we all ostensibly love, we have had our ups and downs. But things feel hopeful as of late, both in terms of filmmaking and in film criticism.
A brutal, but immaculately balanced and ultimately empathetic effect gives Hogg’s films an almost overwhelmingly tangible sentimentality. Her depiction of inexpressiveness is deeply expressive. Her silences are unbearable and beautiful at once.
Just as Kate had no access to footage of Christine Chubbuck while preparing to play her, the residents of Bisbee must invent backstories, postulate connections between their roles and themselves, and develop entirely new countenances with no objective reference points.
Bujalski has utilized this business as a rich backdrop for one of the most unusual films of the year: a day-in-the-life character portrait of a working woman of color that is frequently hilarious yet firmly rooted in her undeniable melancholia.
Were Evangeline more sympathetic and self-aware, we might ask ourselves how our enjoyment of Howard is so different from hers of Madeline, and how our continued appetite for performances of female psychological fracture fits into a history of condescension and exploitation.
The basic material of BlacKkKlansman is custom-made to be described as provocative, even though it is hard to pick out a moment in the finished film that would possibly provoke or discomfit someone already inclined to buy a ticket to a Spike Lee movie called BlacKkKlansman.