The film is modest and self-conscious, generously inviting the viewer to listen in on the ideas of an inspiring modern figure. I sometimes imagined myself sitting in a coffee shop, eavesdropping on a student having a great talk with an esteemed professor.
In some rock docs, the band or musician in question is largely absent, leaving peers and fans to talk about their own memories. Kathleen Hanna’s voice, however, is one that isn’t easily subsumed or substituted.
For Denis, the image is the foundation of plot, a theme to explore and, it seems, the fuel needed for filmmaking itself.
Ultimately, we don’t go to romantic comedies for the conflict, we go for the resolution—we want to get to the part where they kiss and make up. Don Jon doesn’t seem to be interested in propagating this desire, but rather in exposing it.
While the interviews structure American Promise, home videos personalize it, allowing access to even the most intimate of moments. Furthermore, the directors never water down scenes in which they, as parents, seem controlling, overly demanding, or, at times, downright mean, adding further authenticity to their narrative.
The sad truth is that it is unlikely that anyone would participate in, let alone finance, a first time director’s take on these characters if the film’s subject wasn’t a luridly exceptional incident. An exploration of the work of the New Vision Kill Your Darlings is not, but how could it be?
Quincy DeYoung recommends Lena Dunham's feature Tiny Furniture, now streaming on Netflix.
Double Exposure sits down to discuss its favorite movies and biggest disappointments of the 51st New York Film Festival.
A Touch of Sin’s true success is its ability to both condemn and justify this violence at the same time. The establishment of motive makes a huge difference in how each act of violence is understood and whether or not it is acceptable.
Alex Robertson wrestles with the legacy of Howard Hawks, the subject of a major retrospective now in progress at the Museum of the Moving Image.
12 Years a Slave’s most biting critique is of the ways in which believing in the redemptive nature of true liberalism only serves to perpetuate systems of exclusion and inegalitarianism.