Search View Archive


Heaviosity vs. Fun

The 2009 Festival took a lot of flak for succumbing to “festivalism.” This affliction supposedly drove the Festival to choose films of a certain rigor, films lacking in fun, films that would edify us all with their high-end film-iness.


Almost a century after Marcel Duchamp’s nude headed down her staircase, contemporary art is still able to provoke surprise, anxiety, and anger—and not just in the hearts of Hilton Kramer and Rudolph Giuliani.

Thinking Contextually in the Existential Whodunit

I recently wrote on Lars von Trier’s Antichrist and much of what I wondered about was the maker’s intention. Specifically, what was von Trier’s choice and what was a mistake?

Heavy on Politics, Light on Fun

The term “consciousness raising” may rankle or alienate a contemporary audience. Perhaps it seems like a relic of a bygone age or, worse, calls to mind the worst excesses of politically correct activism.

In Conversation

No Shadows to Hide In

Roy Andersson’s world is a bleak place peopled by lonely individuals who inhabit drab monochromatic rooms. Like zombies, the inhabitants trudge across the gloomy cityscape wearing pale, ghoulish makeup.


The Brooklyn Rail

NOV 2009

All Issues