Ted Geoghegan’s We Are Still Here is a love letter. Two parents, grieving over their lost son, move to a new house in Massachusetts. The house, of course, is haunted. It’s like Lucio Fulci’s The House by the Cemetery – intentionally so. It hearkens back to an older time, and it doesn’t really feel like a modern horror movie. Among the glut, it stands out, and the universally high marks it’s received from critics show that Geoghegan was onto something. After working as a writer and producer for years, this marks his feature debut as a director. It’s certainly a […]

There is nothing new about Slow Cinema. From the very beginning of projected motion pictures in the late 19th century, the Lumière brothers utilized the single take, allowing for the temporal flow in the frame to coincide roughly with the audience’s experience of time. The fracturing of time through editing — borrowing from and keeping with the realist conventions of the novel — put cinema on the path of montage: the art of visual storytelling became equated with rapid movement across time (flashbacks and the implied “meanwhile…”) and space (multiple locations). Even cross-cutting — shifting back and forth between two […]