Reclaiming Small Spaces: Chantal Akerman’s ‘Saute ma ville’ and the Art of Social Distancing
Chantal Akerman’s 1968 short film Saute ma ville directly reflects our current state, serving as a meditative text on the art of staying home.
Chantal Akerman’s 1968 short film Saute ma ville directly reflects our current state, serving as a meditative text on the art of staying home.
Natalia Leite’s 2015 film Bare picks up where Barbara Loden’s 1970 film Wanda left off, each acting, indirectly, as the proto- and fourth wave- feminist renderings of the other.
Camille Billops moved beyond predictable and well-tread ground to open up space for new narratives in her films—about Black families, Black women, and Black middle-class life—that pulled on her distinctive and unapologetic worldview.
Joni Mitchell's foray into jazz was not an impulsive change. Rather, jazz has been the constant, undulating beneath industry demands and topical concerns that called for the acoustic guitar or the Appalachian dulcimer.
Haile Gerima's Bush Mama remains a critically transformative film, particularly in its most subliminal, yet important, proclamation: the days of separating "art" and "artist" are over. For in Black cinema, those days never existed to begin with.
Wave's status as Patti Smith's most unapologetically pop album reveals the most authentically "punk" gesture of her career: rejecting the idea that her genre capabilities begin and end with that four-letter word.
Joni Mitchell's latest book denotes the next step in the Joni evolution, and indicates that perhaps those different languages for her—of visual art, poetry, and music—will finally be held in equal regard.
The Velvet Underground's 1969 self-titled release, known as the "Grey Album", blazes boldly 50 years later, and retains the same sonic relevance as a Laura Nyro or Nick Drake record: artworks utterly of their moment, that sound like they could have been made yesterday.
Our pop culture landscape is controlled by capitalistic saturation and a deeply-entrenched machismo ethic. It might not be powerful enough to erase Agnès Varda's genius, but it is shameless enough to eliminate her from the common discourse.
With his 1949 avant-garde short film, Puce Moment, Kenneth Anger is vomiting glamour into our face, objectifying objects, sexualizing what cannot, in a vacuum, be sexualized: silk, velvet, cotton, glitter -- and we cannot get enough of it.
Robert Altman’s comedy Brewster McCloud is as relevant to our absurd society today as it was to our absurd society half a century ago.
A contemporary viewing of Alfred Hitchcock’s 1964 film, Marnie, makes it clear: we must understand the inner workings of the male gaze and annihilate it.