Sublime

La presse de l’industrie du spectacle l’a porté aux nues non parce que c’était un grand film, mais parce qu’il avait coché toutes les cases de notre obsession du moment concernant la politique identitaire. Le personnage principal était gay, noir, pauvre, martyrisé et victime.

Here’s what I mean by that: I once read a movie review by Roger Ebert for the film Jay and Silent Bob Strike Back. Early in the review, Ebert makes a tangential point about whether or not film characters are theoretically “aware” of other films and other movie characters. Ebert only touches on this issue casually, but it’s probably the most interes

I want to take audiences back to the earliest days of cinema, when the Lumière brothers screened their film of a train pulling into a station. Apparently some people fled in panic because they were convinced they were about to be run over. I can’t confirm this; it might be a legend, but I like the story. At screenings of Fitzcarraldo I heard gasps

One used to assume, whenever one saw a person walking down the street speaking loudly to no one in particular, that this person was insane. Today one commonly assumes that this same person is a sane individual speaking to someone else on a phone, but it might also be possible to assume that the implied rejection of one's immediate surroundings sugg

That's one of the marks of a great film artist, I think-the ability to compress, condense, to find resonance in the simplest of images, and to never waste an image, making it work on a number of levels.

Mike Leigh, the British director of numerous excruciating comedies,

the challenge that great filmmakers have always accepted is to start with images of social/environmental conflict and lead us into the complexities of personal relationships,

each reader is continuously re-evaluating his