Outside the avant-garde world, shorts are rarely granted extended critical writing — it’s hard to justify the expense of covering these hardest-to-see of items, confined as they often are to festivals and specialized screenings, so it’s up to salaried editors like me to step up when possible. (Making this my first piece about True/False 2015 may be straining to make the point, but I can live with that.) Case in point: Benjamin Pearson’s Former Models has been in circuation since 2012, but written information besides the broad outline is hard to find. In part, that’s due to the short’s sheer density: […]