It's not enough to describe Dead Man as simply an anti-western; it's an iconoclastic deconstruction of late 19th Century American values and mores, many of which remain unabated more than a century later.
Lisa Hanawalt's work is proof that even a genre as seemingly played-out as the western can reveal a rich landscape if the right hands are holding the reins.
Throughout his career, Fairbanks scrubbed his scripts of racist elements. The Half-Breed is a rare example when racism is foregrounded as a theme.
Loo Hui Phang emphasizes the nature of image-making from the first panel: an upside landscape as viewed through the inverting lens of the protagonist's camera.
Sibling directors Elan and Jonathan Bogarin deliver vastly different stories about the power of the past.
In this tale of the formation of Texas, a roof over one's head is antithetical to freedom.
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