“Hit” movies have largely been eradicated from my theater-going diet—a rather cleansing effect. Yet I find myself missing that view from the balcony, the feeling of peering down at those churning, sexless spectacles, and the slightly melancholic indifference of it all.
There is a difference between making a film of sociopolitical and cultural value and making a film about important sociopolitical and cultural matters. In some cases the latter may beget the former, but it is not a given.
At peak attendance, I was averaging three screenings a week, sometimes with a date or with girlfriends, but just as often alone. Unfettered by school, an uncertain future, or the world at large, I would plop myself down fourth row center. Just me, my popcorn, a sketchbook, and my feelings.
This week's pair of writers raise questions about contemporary pedagogy and parenting, sci-fi and fairy tales, isolation and ash, with an R-rated future parable and a trip back to storybook land.
From our archives: writing on films that have been on our minds, featuring Ela Bittencourt, Ashley Clark, Michael Koresky, Joanne Kouyoumjian, Emma Piper-Burket, Jeff Reichert, Genevieve Yue, Farihah Zaman, and more.
In battling with paranoia and insomnia, and trying to make sense of the world, two writers go down separate wormholes—of an Australian faux-documentary horror movie and a Jacques Rivette tumble into conspiracy.
For this week's pair of writers, coping mechanisms including digging into the oeuvres of auteurs, from chronicler of the lonely American male Michael Mann to trailblazing Guadeloupean female filmmaker and activist Sarah Maldoror.