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One’s first impulse watching Mike Ott’s Littlerock is to think of it as a kind of inverse Lost In Translation. The two films mirror one another in a couple of ways. In Lost In Translation, two Americans, Bob and Charlotte, meet and become friends
About halfway through Tuesday After Christmas, I started thinking about divorce cinema, as a genre, and plotting out its contours in the pages of my notebook. (I am hardly the first to do so. There is a small but solid body
The cronyism of Australia’s screen bureaucracy has been in the headlines as of late. Earlier this month, Film Victoria made front pages after it blew a whopping $45,000 — the amount it would take some people to produce a low-budget feature film — on a farewell
For anyone with even a passing acquaintance with Todd Haynes’s I’m Not There (2007), it was impossible not to sit through Benito Di Fonzo’s epically-titled play The Chronic Ills of Robert Zimmerman: AKA Bob Put the important people in your life
For every metaphor for the cinema – Godard’s goodwill for a meeting, Bazin’s window on the world, the cinema as a machine célibataire – one can usually think of at least a couple of metaphors for cinephilia. One of the more evocative
Towards the end of Scenic Highway, Evan Mather’s semi-autobiographical and wholly-heartfelt paean to Baton Rouge, LA, the viewer is instructed to “start at the State Capitol Building and head north eleven miles along Scenic Highway, past the chemical plants and
If this article has a structuring absence, Josh Harris is its name. The Warholian figure behind Pseudo.com, a website that, in its day, webcast shows about everything from deviant sex to modern art before going bankrupt when the dot-com bubble burst (he later claimed, in a letter to The New York Times, that Pseudo had
I have never seen as many dead animals on screen as I have in the past two weeks. From grasshoppers roasted over an open flame in to kangaroos mercilessly slaughtered in the night, I have been witness to a macabre