In Tomás Gutiérrez Alea's film the protagonist is an inhabitant too estranged from his country to belong, a tourist too familiar with his environment to experience the passing joy of surprise.
The experiences you have in NYC are not the best experiences to be had, the sex you have is not the best sex, the friends you make are not the best of all possible friends—but they ought to be.
Resnais's approach to direction is similar to Montaigne's approach to the essay: sticking to concrete fact and recognizable example, the viewer/reader is transported with unexpected celerity to the far reaches of abstraction.
From Bowling for Columbine to the recent Fahrenheit 11/9, one wonders, what is being validated in Michael Moore films?
The Father is the wielder of profuse potency but it can only be maintained through distance and the renunciation of understanding, the willingness to embrace the mystery without examining it. But, necessarily, the child must penetrate that veil.
Bill Malone presents insights into the musical acts that gave rise to and perpetuated the country music tradition in all of its internal contradictions, negotiations, and accommodations.
Mitchell B. Merback exploits the cryptic nature of Albrecht Dürer's Melencolia I in order to encourage deeper speculation into one's self and the manner in which one engages with the world through the oft-misunderstood condition of melancholy.
Separate and Unequal provides a riveting account of a crucial moment in US history. It offers a penetrating insight into the manner in which good intentions and just causes necessarily confront the mechanisms of governmental bureaucracy.
The Order of Time is a little wonder of a book. It provides surprising insights into an increasingly mysterious world, offers warmly humane reflections on our existential condition, and sustains a virtual conversation that will continue long after the reading has ceased.
As Splendor and Misery in the Weimar Republic conveys, Expressionism seems to proclaim, we feel alike; whereas New Objectivity doesn't attempt to express alienation -- it induces it.
Sophie Tucker's delivery is both blatant emotion revealed to be pretense and pretension discovered to be deadly serious. Unfortunately, Red Hot Mama provides no real examination of Tucker's artistry.
For Plutarch, life and the course of history insist that we face up to who we are and this is as harrowing as it is liberating; it is the source of our destruction as much as it is the springboard for our accomplishments.
The film is imbued with a painterly quality wherein the not-quite static framing of the human visage is its main concern, its aesthetic gambit, and the source of its affective impact.
When anyone looks in the mirror, Le Courbeau's Vorzet suggests, they see a devil accompanied by an angel. See the premiere of a new 4K restoration with an all-new translation of Le Corbeau at Film Forum NYC 20 April through 1 May.
The initial role Ulrich took on as the archivist of the Timothy Leary archive was to publish excerpts from it on a public blog. That seems more suitable than this rather stolid book.
Ernst Ludwig Kirchner knew that melancholy arises from our longing to connect with the world and our knowledge that it continually slips from our embrace.
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