Posts Tagged: films

Sweet Bird

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Every story needs to begin in a place of stasis, a comfortable zero.

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The Rumpus Interview with Tobias Carroll

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Tobias Carroll discusses his newest collection Transitory, the influence of film on his writing, and getting good news at bad times.

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At Heaven’s Gates

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At the New Yorker, Richard Brody shares a eulogy for director Michael Cimino: Cimino’s life work is a cinema of mourning, an art of grief, a nightmare of memory that finds its sole redemption in ecstasy—the heightened perception that transforms experience into a grand internal spectacle, which finds its own embodiment in Cimino’s own profound visual imagination.

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The Limits of Extreme Beauty: Nicolas Winding Refn and Neon Demon

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Daylight here burns up the atmosphere. The dawn of a new day is, in fact, the end of everything.

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An Actress Recommends Five Classic Films to Her Child

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Surprise is only one of many aspects of human behavior. There are dozens. Maybe even a hundred.

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A Woman, A Part, A Movie, A Campaign

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Of all possible women characters, how did I ever end up writing about an actress? Having spent two decades making films and art about women’s experiences from a feminist perspective, I realized that actresses are the ultimate representation of women—they tell our culture who and what a woman is, what she wants and feels. Feminist […]

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Haters Gonna Hate

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Some movies just aren’t all that good. A.O. Scott makes the case for film snobbery: You see the problem. “Snob” is a category in which nobody would willingly, or at least unironically, claim membership. Like the related (and similarly complicated) term “hipster,” it’s what you call someone else.

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The Rumpus Interview with Jeremy Hawkins

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Author Jeremy Hawkins discusses his debut novel, The Last Days of Video, the resurgence of the independent bookstore industry, and allowing nostalgia to have presence but not precedence in one’s life.

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Extraordinary, Ordinary People: Another Year and the Films of Mike Leigh

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Here is the world according to Johnny, the bilious antihero of Mike Leigh’s 1993 film Naked. Johnny is a restless drifter on an odyssey through London’s nocturnal underbelly, his feverish ranting a furious response to an alien and indifferent society. “Humanity is just a cracked egg,” he insists, “and the omelet stinks.”

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