Alex Robertson takes us into Tsai Ming-liang's 1997 film The River in this new video essay.
Double Exposure is celebrating the 20th anniversary of Cheryl Dunye's iconic debut, The Watermelon Woman, by posting a newly edited version of Alex Robertson's longform piece on the film from our 8th print issue.
A film like Claire’s Knee is not merely a circus of irony, a spectacle of negative energy: clearly one must take some sort of base enjoyment in the lengthy, digressive musings of Rohmer’s characters that is not reducible to scoffing at their myopia.
In this video essay, Alex Robertson discusses the unique blend of audience empathy and visual absorption offered in My Little Loves, the final feature by French master Jean Eustache.
With each narrative reveal, one gets the creeping sense that Pierre, too, by virtue of his very infidelity, his childish behavior, his destructive impulses, lives in the shadow of the woman he’s betraying.
Our NYFF coverage continues with Alex Robertson's "Christgau capsules" for three documentaries.
There’s no denying that a lumbering, episodic structure such as this movie possesses can only be further deadened by the detectable calculation of where each episode will take us.
It feels as if the post-capitalist utopia which Straub and Huillet envision will have no place for visual delectation, or depth of feeling, and certainly not humor. Sounds sorta regressive, doesn’t it?
The critical response to To the Wonder, so disheartening in its near-unanimous exasperation, seems to me incommensurate with the movie itself, which I watched and loved one idle December night after a copy of it had landed in my lap.