Between 9 and 11 p.m. on Friday, September 27, 1985, after Knight Rider and before the late local news, one of every five American TV sets was tuned to NBC to see the theatrical impresario who would send his casts into audiences to beg for change, was arrested for indecency after stripping alongside ticket buyers and had disrupted his own trial for tax evasion with spasms of poetry. Julian Beck, cofounder of The Living Theatre, appears in the feature-length season two premiere of Miami Vice as a Mephistophelean financier. Cultured and skeletal—Beck died of cancer before the episode aired—the trickster-god […]

As codirector Sofia Bohdanowicz has delightedly noted, MS Slavic 7 has caused a minor flutter of interest among the Extremely Online Librarian community, amazed that anyone would make a film titled after a call number at Harvard’s Houghton Library.  That collection, from the papers of the Nobel-nominated poet Józef Wittlin, includes two dozen-odd letters sent to him by his fellow poet and fellow Polish exile Zofia Bohdanowiczowa, Bohdanowicz’s great-grandmother and namesake. Within the world of MS Slavic 7, though, Bohdanowiczowa is the grandmother of Audrey, the character played by Deragh Campbell. Audrey is a recurring character in what now must […]

Writing about Ricky D’Ambrose for last year’s 25 New Faces of Independent Film, Vadim Rizov described the script of his debut feature, Notes on an Appearance, then in postproduction, as “giv[ing] a sense of a disciplined, honed gaze refined over years of self-tutoring.”  That autodidact’s precision manifests, in shorts like Six Cents in the Pocket (2015) and Spiral Jetty (2015), in straight-on close-ups of people against blank white walls or monochromatic wallpaper, or of pictures and texts and cups of coffee on tables as the sun streams through the window, and an almost monastic sound mix of epistolary voiceover and […]

Land Ho!, co-written and co-directed by Aaron Katz and Martha Stephens, is an odd-couple two-hander like Katz’s previous Cold Weather and Quiet City, and a progressively rural odyssey like Stephens’ Pilgrim Song, accented by the hues of regional color familiar from both directors’ palettes. But given the film’s Icelandic setting, perhaps another frame of reference is also called for. In interviews, the filmmakers frequently discuss the remoteness of the Icelandic landscape, its incongruity with the day-to-day lives of their characters, and, above all, its mysterious and “otherworldly” beauty. In Iceland, where I currently live, this view is not necessarily reflective […]