The double feature has been a moviewatching mainstay since at least the 1930s. Their appeal is obvious: What better way to cap off a film than to delay real life for a few hours more with another one? Few of us catch double bills at a theater anymore, but their allure remains strong at home. As sites like Mashable and Uproxx reported this year, Netflix users can access double-feature-friendly micro-genres with ease. These days, the work of curating a dual bill of “critically-acclaimed gritty independent crime dramas” is practically done for you. You can even start the next film without […]
by Soheil Rezayazdi on Dec 22, 2016Watching the world go by out a car window, a road trip feels like going nowhere and somewhere at the same time. The overpasses and parking lots, they all look enough alike, and then thousands of miles later, by the time you get somewhere new, you’ve changed, a metamorphosis propelled by asphalt and gasoline. The road is a symbol in America, as much as an everyday experience. Last month, Frank Ocean released his album Blonde accompanied with a zine about cars. “We live in cars in some cities, commuting across space either for our livelihood, or devouring fossil fuels for […]
by Whitney Mallett on Sep 29, 2016Cannes 2016 By Blake Williams Sometime around the fourth week of April — after word got out that Cannes festival director Thierry Frémaux had rejected Bertrand Bonello’s highly anticipated new film, Nocturama, in which a gang of young radicals plant bombs all over Paris (a film that was definitely finished and was definitely submitted to and seen by the selection committee); after various news outlets began circulating footage of the Cannes municipal police force’s elaborate terror drills at the Palais des Festivals, with faux wounded tourists writhing in agony on the pavement, simulated car bombs, coordinated police raids and all; […]
by Filmmaker Staff on Jul 25, 2016A24 has just released this trailer for Andrea Arnold’s Cannes prize-winning American Honey, starring Shia LaBeouf and riveting newcomer Sasha Lane. She’s the new recruit, he’s the troubled showboater and Riley Keough is the bikini-clad capitalist who has cultishly transformed a motley collection of street youth into a band of traveling grifters. Arnold, along with her regular DP, Robbie Ryan, creates an exuberant and kaleidoscopic vision of contemporary America in a film that creates its own entirely compelling rhythm.
by Scott Macaulay on Jun 21, 2016