D.A. Miller begins his 2008 Film Quarterly essay on Alfred Hitchcocks Vertigo (1958) by confessing that his initial experience of the film was not a happy one.
Elegiac passages from Paul Éluards Liberté haunt David Cronenbergs nutty Maps to the Stars, as if the Surrealist writers transformative prose was another of the films many ghostly manifestations. In a film that deftly normalizes the toxic repetition of pop culture references and celebrity name-dropping, Éluards dreamy influence feels alien, like an extraterrestrial marking imprinted upon an earthly idol.
This October, the 2014 BFI London Film Festival Experimenta showcased roughly 70 film and video works broadly defined as experimental cinema and artists film and video. The Experimenta programming offered works both magnificent and maddening, and the nearly parallel festival provided much to consider on its own.
Following the attacks of 9/11, documentary filmmaker Laura Poitras, like many of her contemporaries, trained her lens on the governments response at home and abroad.
This line marks the final moments of William Greavess deeply affecting 1968 television documentary, Still a Brother: Inside the Negro Middle Class.The film, a portrait of black political and economic aspiration during some of the most dramatic moments of the civil rights movement, screened as part of a Greaves retrospective at the Brooklyn Academy of Musics Migrating Forms festival in December.
In the final scene, which is also the final shot, of Corneliu Porumboius When Evening Falls on Bucharest or Metabolism (2013) a doctor examines video footage of an endoscopy in order to determine whether or not Paul, a film director, requires additional insurance coverage for a condition he did not previously admit having.