Slaughterhouses of Modernity, the latest film by Heinz Emigholz, has arrived in New York. The filmmaker refers to it in passing as a work of propaganda, which means, he reminds me, that it is a film designed to advance an agenda. To this end, Emigholz has adopted a mode of direct address. With John Erdman, Stefan Kolosko and Arno Brandlhuber acting intermittently as chorus, Slaughterhouses of Modernity castigates the works of art, architecture and philosophy—collected post-hoc under the banner of Modernism—nourished by the conditions of genocidal, colonialist, “Western values.” For Emigholz, the century that seemed to place the individual at […]
The closing title card of the new Western Dead for a Dollar includes the dedication “In Memory of Budd Boetticher.” Had director Walter Hill worked during Boetticher’s era, he too may have churned out exceptional, modestly budgeted Westerns at a clip of roughly one a year, like Boetticher did for Columbia Pictures in the 1950s. Instead, Hill has settled for being one of a handful of contemporary repeat practitioners of the Western, a disparate group ranging from Clint Eastwood to the Coen Brothers, Kevin Costner to Quentin Tarantino. Hill’s first Western, The Long Riders—a retelling of the Jesse James story that […]
In director David Bruckner’s Hellraiser reboot, it’s clear that co-writers Ben Collins and Luke Piotrowski were committed to representing a more faithful version of Clive Barker’s original Hellraiser text, The Hellbound Heart, than continuing any storyline already explored within the long-spanning cinematic franchise. This is for good reason: While Barker’s 1987 Hellraiser (which he helmed due to frustrations with other filmmakers failing to capture his work’s essence) is a renegade horror classic, the subsequent nine sequels are widely considered to be tepid, half-baked follow-ups. In this version of the story, a young woman named Riley (Odessa A’zion) struggles with drug […]
Nanny, the feature debut from writer-director Nikyatu Jusu, evokes a truly rebellious spirit, channeling West African folklore as a liberatory chaos agent to confront the xenophobia, racism and misogyny that regularly besets immigrants working as domestic laborers in the United States. Aisha (Anna Diop), a Senegalese woman living in New York City, is initially ecstatic when she lands a gig as a live-in nanny for a wealthy family in Manhattan. Amy (Michelle Monaghan) and Adam (Morgan Spector) appear to be well-intentioned employers, and their daughter Rose (Rose Decker) instantly connects with Aisha. However, she quickly realizes that the family’s swanky […]
Charlotte Wells has been saying that her first feature, which she calls “emotionally autobiographical,” was inspired by leafing through a family album and realizing how young her father was when she was born. A bittersweet aura permeates Aftersun, in which Sophie, just turned 11, spends a week before the start of term with her father, 30-going-on-31 Calum, on vacation at a Turkish hotel, just across the road from the all-inclusive resort where they sneak food from the buffet. Like Johnny Marco (Stephen Dorff) in Sofia Coppola’s similarly liminal and hotel-set Somewhere, Calum’s arm is initially in a cast—the presumed vestige […]
Armageddon Time returns the American writer and director James Gray to his childhood—or at least to a version of it. While its treatment of grade-school-age protagonist Paul Graff (Michael Banks Repeta) and his dealings with the world of grown-ups in and around his home in 1980s Queens, New York, might not be, strictly speaking, autobiographical (Gray has been careful to distinguish between personal and autobiographical filmmaking), Armageddon Time draws upon the filmmaker’s childhood to fashion a story of a boy’s moral and aesthetic education that seems at once thoroughly lived-in and unsentimental. For nearly two hours, we watch as young […]
Queens of the Qing Dynasty, the second feature from Nova Scotia’s Ashley McKenzie, is a unique work of independently produced Canadian cinema. Both a stark about-face from the hardscrabble realism of her 2016 debut Werewolf—about a pair of strung-out young lovers living hand-to-mouth on the margins of Cape Breton—and a decisive break from the docufiction trends of art cinema at large, Queens is rigorously composed and austerely dramatized, an artful fable pitched somewhere between comedy and tragedy. Starring newcomer Sarah Walker as Star, a neurodivergent teen who develops a deep connection with her caregiver An (Ziyin Zheng, also making their […]
Founded in 1972, DCTV (Downtown Community Television Center) has the distinction of being one of the rare permanent cinema landmarks in NYC. Housed in a striking firehouse on Lafayette Street in Chinatown, the non-profit media center has long been the one of the most prominent documentary production and film education centers in the country. After a storied legacy of hosting various educational programs, folding-chair screenings, master classes, panel discussions and Chinatown-specific community events, on its 50th anniversary the building will now finally house its own specialized cinema. “We don’t make films for ourselves, we make films for people to see […]
While Stéphane Lafleur’s third feature, 2014’s Tu Dors Nicole, chronicled the summer malaise between of aimless Quebecois post-grads, his follow-up, Viking, explores a different, slightly otherworldly strain of existentialism. High school gym teacher David (Steven Laplante) gets the opportunity to revive his dreams of becoming an astronaut by joining a behavioral research team called the Viking Society that will mirror the first manned mission to Mars. This B-team plans to replicate the mission in a controlled environment that resembles the probe—i.e., a Quonset hut in the desert—where they will game out potential interpersonal conflicts between the five-member crew in order […]
An unwritten rule of public restroom usage is that one should never attempt to strike up a conversation with the person one stall over, and that’s doubly true if the person next to you is an all-powerful god sent down from the cosmos. After a night of grieving and binge-drinking leads to hugging the toilet bowl at a gross rural rest stop, Wes (Ryan Kwanten) finds himself in that scenario when the person in the stall introduces themselves. That person is nothing more than a voice funneled through a gloryhole, but what that voice requests of Wes (and why) raises […]