Realism
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Into The Splice : Micmacs
The late afternoon is warm, the locusts screaming from the trees. The sun makes everything as golden as the poster for Micmacs, a movie that I’ve avoided because the spell of Jean-Pierre Jeunet’s earlier movies (Delicatessen, The City of Lost Children, and Amélie especially) is so powerful and magical. I didn’t want Micmacs to break that spell, but I needn’t have worried. Some reviews have accused the film of being style over substance but really, when it comes to any form of storytelling—in movies, in literature, in art—is there a difference? Usually when critics accuse a movie or novel of […]
by Nicholas Rombes on Sep 17, 2010 -
Ti West, The House Of The Devil
As a genre that’s all about keeping the audience on its toes, the horror movie naturally needs a regular injection of fresh talent, and writer-director Ti West is the latest to give it a shot in the arm. Born in Wilmington, Delaware, in 1980, West spent his adolescence watching as many movies as he could catch on TV or rent from his local video store. Though he made stop motion movies with his G.I. Joe action figures, he didn’t give much serious thought to filmmaking until he decided to make a short film to indicate to colleges that he had […]
by Nick Dawson on Oct 30, 2009 -
Jean-Pierre And Luc Dardenne, Lorna’s Silence
ARTA DOBROSHI IN LUC AND JEAN-PIERRE DARDENNE’S LORNA’S SILENCE. COURTESY SONY PICTURES CLASSICS. From Auguste and Louis Lumière onwards, filmmaking partnerships with last names like Coen, Duplass, Hughes, Maysles, Polish, Quay, Wachowski, Taviani, Zellner and Zucker – just to name a few – have been proving that siblings and cinema go well together, and Jean-Pierre and Luc Dardenne are certainly no exceptions. The Belgian filmmakers, born in Liège in 1951 and 1954 respectively, have been making films as a duo since 1975, when they formed the production company Dérives. After a decade of making documentaries, they shifted to doc-style fiction […]
by Nick Dawson on Jul 31, 2009 -
THE NECESSITIES OF REALISM
David Denby has a good piece in the New Yorker this week, the rather self-explanatorily titled “The Moviegoer: Susan Sontag’s life in film.” He of course begins by discussing Sontag’s 1995 essay, “A Century of Cinema,” in which the late critic bemoaned not only the decline of international art cinema but the decline of cinephilia as a necessary intellectual and social endeavor in general. From there Denby jumps backwards, tracing the development of Sontag’s thinking with regards to art and politics as it appears through the lens of the movies she championed. In this passage, Denby hits on what seems […]
by Scott Macaulay on Sep 9, 2005
