So after reviewing movies of various lengths and ambitions this year, I’m bringing it home with a review of a movie that is decidedly small. Kelly Reichardt has made a singular career out of crafting these very intimate, contemplative films that rarely have a ton of conflict or innate drama. Of the films of hers I’ve seen, Old Joy seems like the purest distillation of this, as there’s not a ton that happens (even for the indie road movie genre), but then again, nothing really needs to. Like much of Reichardt’s oeuvre, the film’s unassuming nature is like a warm bath compared to the overstimulated nature of today’s media, or should I say it’s like a dip in a hot spring? Continue reading
When people decry the state of modern filmmaking, I think they must consider the case of Terrence Malick. The famously private writer-director made his debut with Badlands in 1973, an indie film financed mostly by people outside the industry. Five years later, he followed that up with the gorgeous Days of Heaven, which had a difficult production and lengthy post-production. That was enough to leave him struggling to get a picture off the ground for two decades, until he finally released The Thin Red Line in 1998. It took him another eight years to do The New World, then six more for The Tree of Life. So five movies in nearly 40 years.
But something changed in the 2010s: To the Wonder came out just a year after The Tree of Life and Malick managed to make three more movies (plus an IMAX experience) before the end of the decade. Back in the day, his films were huge events for cinephiles like me, now sometimes I don’t even hear about them at all when they come out (the fuck was Song to Song?). For whatever reason, one of our least bankable directors became his most prolific during perhaps the most commercial era in cinema’s history. I leave it to you to decide if giving Malick access to so many ways to make and distribute movies enabled an auteur to finally thrive or took some of the shine off of him.
I just realized out the nine films I’ve watched for Criterion Month so far, six of them have featured promiscuity or having an affair as a prominent plot point. Is this a coincidence? Or is there a reason I’m drawn to taboo subject matter? I think a parallel can be drawn with my passion for horror movies. I’m drawn to what that scares me. Watching things you feel like you’re not supposed to be watching is exciting. Uncomfortable, sure. But you can learn a lot about humans from discomfort. The Piano Teacher is thus pure unfiltered Michael Haneke.
Ah, the plight of a film watched late in Criterion Month, when we’re all a little burned out from watching arty, cerebral movies. This makes it especially hard to write about a film as layered and exquisitely made as Beau Travail, which leaves as much to chew on as any film I watched during this year’s Criterion Month. So much so that despite how much I enjoyed my viewing of it, I didn’t zero in that much on one aspect most people seem to talk about in regards to Beau Travail (its portrayal of repressed homosexuality). Though that’s just one aspect of what’s remarkable about the film, as everything is done with so much confidence, and yet there are so many things left unspoken by the film’s end that it leaves you lingering in its dusty doorway, looking for answers. Continue reading
I should watch more Jim Jarmusch movies. That’s it, that’s my big takeaway from finally watching Ghost Dog: The Way of the Samurai after owning the DVD for probably something like 15 years. I’ve only seen a few of his movies, but I’ve liked them all (especially the beloved Patterson) which has locked a few of them perpetually on my queue (especially Only Lovers Left Alive). My only explanation for why is that he makes weird movies that don’t exactly go the way you’d expect them to, so it’s hard to put yourself in the right mood. And that’s pretty weak sauce, but was definitely true for Ghost Dog: The Way of the Samurai.
I didn’t mean to post this so late but I had a splitting headache for most of the day. Yeah… that’s what happened. I mean, it’s not like I have some fetish where I sneak out late at night and get off watching cars crash. Or have sex without a seat belt in a speeding convertible. No uh, nothing like that.. um, anyways I watched David Cronenberg’s 1996 erotic thriller Crash.
I watched Paris Is Burning last night and have spent all day today agonizing over how to convince you that it’s worth seeing if you haven’t gotten around to it yet. Maybe the five stars I gave it will help? I’d also like to tell you it’s easy to stream on the Criterion Channel right now. Maybe if I include that it’s only 78 minutes long that might sweeten the deal? I just don’t want to come on too strong. Because what I really want to lead with is Paris Is Burning is without a doubt one of the most beautiful, moving documentaries about life in America I’ve ever seen. And I know that lofty proclamations like that get movies added to queues but then it takes something like a Criterion Month to convince us to actually watch them.