In Connected, one writer will send another a new piece of writing about a film they have been watching and pondering over, in the hopes that this will prompt a connection— emotional, thematic, historical, or analytical—to a different film the other has been watching or is inspired to rewatch.
Two writers dive into the deep, red waters of genre and wade through issues of racial and gender othering as expressed in a piece of Samuel Fuller pulp and a slice of Massimo Dallamano giallo.
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.
The need for the geometric sublimity of music leads two critics to two very different musical movie experiences.
The chaos of the moment feels aptly reflected and deeply felt in both a Bogdanovich slapstick classic from the seventies and a Hammer horrror gem from the sixties.