Edo Choi
Obeying an ethic of factual authenticity that, for the first time, grounds his often too insistently spare approach, Glazer advances a picture of moral rot that is horribly evocative. It’s telling that this tipping point reveals itself only after one has been released from the film’s spell with the space and distance of reflection.
Museum of the Moving Image film curators Eric Hynes and Edo Choi continue their chat about Cannes 2023, including comments on Killers of the Flower Moon, May December, Anatomy of a Fall, The Pot au Feu, and more.
For the second year in a row, MoMI’s film curators visited the Cannes Film Festival together. Hynes and Choi pass notes in the hall between screenings, discussing the culture of and around the festival, and, yes, the occasional film.
Our Body, one of the best documentaries I have seen in years, silenced the murmur of any externalities the moment it started, maintaining its quietly firm grip on one’s attention through every startling moment of its nearly three-hour running time.
This is a delicately painful and painfully honest film, a portrait of innocence shading into experience set among the shadows of an American past that could scarcely feel more present.
This was the first year that the film curators of MoMI visited the Cannes Film Festival together. Eric Hynes and Edo Choi compare notes on the scene, the culture of the festival, the slate, and what it might mean for MoMI.
Even in this capacity-reduced iteration, one sensed the anticipation of what felt like largely local crowds returning to the program, perhaps for the first time since 2020, at each sold-out Forum screening.
Two writers dive into the deep, red waters of genre.
Doc Films did not just allow us to access film history; it allowed us to express, in however humble a fashion, our own place within it and within contemporary film culture, one that only lives as a social endeavor carried out and fulfilled in a collective space.