His movies are about fraught relationships and breakdowns in communication, but without any histrionics; they often fracture time and chronology, but not in a cloying or self-consciously experimental way. They are so emotionally transparent that they run the risk of being mistaken for simple-minded.
The chaos of the moment feels aptly reflected and deeply felt in both a Bogdanovich slapstick classic from the seventies and a Hammer horrror gem from the sixties.
In this ongoing column, one writer will send another a new piece of writing about a film they have been watching and pondering over, in the hopes that this will prompt a connection to a different film the other has been watching.
Malick’s filmmaking, especially here and in everything after, strikes me as a way of using the cinematic form to piece together a visual approximation of a world made unknowable by our own perceptions, our own human limitations.
Seeking historical and temporal specificity ultimately proves fruitless, and provocatively so: The Irishman is, after all, based on an account of a subjective reality, an exactingly detailed version of one man’s perception of history, and of himself.
A Few Great Pumpkins
Unfriended: Dark Web, Penda's Fen, The Collector, Someone's Watching Me, The Queen of Spades, Angst, Amazing Stories: "Go to the Head of the Class"
She has continually brought to her roles intense dedication, as well as a methodical approach to neuroses that can toggle between effortless and effortful; some can find her showmanship off-putting, while some of us are captivated in a purely pleasurable way.
Because her performance is so often located in reaction shots, and because she can charge even the smallest glance with a history of conflicted feelings, Binoche makes what might have otherwise been a rote audience double into a rich repository for all the film’s inquiries.
A Few Great Pumpkins
The Invitation, The Ghost Train, The Little Girl Who Lives Down the Lane, The Creature from the Black Lagoon, A Scary Time, Messiah of Evil, Panna a netvor
We have been publishing Reverse Shot for 15 years, and when it comes to maintaining our optimism and enthusiasm for the medium we all ostensibly love, we have had our ups and downs. But things feel hopeful as of late, both in terms of filmmaking and in film criticism.