Caden Mark Gardner
A 1959 postapocalyptic melodrama with Harry Belafonte and a recent domestic portrait set in 1960 have this week’s pair of writers thinking about displacement in America.
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.
Dark Waters is at once a legal thriller, an environmental disaster movie, and a dramatized historical document of a region, spanning decades, from the atomic age to present. On its face, such a project, set primarily in corporate offices, might seem an unlikely fit for Todd Haynes.
A Couch in New York was Akerman’s ode to classic Hollywood, specifically screwball comedies from the European masters who came to America as émigrés and exiles from their troubled home countries, such as Billy Wilder, Charlie Chaplin, and Ernst Lubitsch.