Double Exposure Virtual Journal: Spring 2020
This year’s Double Exposure, our 17th issue, is unusual for a number of reasons. Firstly, we were unable to be together as a staff to work on the journal, at least for the large majority of its making. Secondly, we were unable to be together with our contributors and readers to celebrate its launch. Both communal...
Beanpole
Truffaut famously stated that there are no real anti-war movies. Indeed, war film as a genre inescapably fabricates patriotic heroes to praise and brutal villains to condemn, failing to indict war itself for its brutality. Furthermore, these films produce a disconnect between form and content. Even if the movie intends to shock the audience with...
The Best Movies of 2019
In addition to contributing ballots to our aggregated top 10, a few members of our editorial board wrote about some films that meant something to them, whether or not they made our final list.
A Cinema for the People: Sátántangó
The primary reason that Sátántangó is so able to lift its weight across seven-and-a-half hours is because its main vocabulary of long takes naturally generates a blood flow of images that is consistent in tone and utterly hypnotizing.
Retrospective Review: Amour Fou
Basing Amour Fou upon this ridiculous story from early 19th century Germany, Hausner presents the impossibility of romantic love.
Mike Nichols Symposium Part I
Who’s Afraid of Virginia Woolf? A mere four years after the play Who’s Afraid of Virginia Woolf? premiered on Broadway, Mike Nichols made his directorial debut with a film adaptation of this classic American play. Hewing remarkably close to playwright Edward Albee’s script, which mined the rich quarry of marriage dysfunction, the film unfolds in...
Best Movies of 2018
As per tradition, Double Exposure took an extra month to catch up on all the best movies that came out last year, but our hotly anticipated list is finally here! In addition to contributing the individual top 10s from which we built our top 15, our staff has also written a little bit about some films, whether...
NYFF 2018: Wildlife
The directorial debut of actor Paul Dano organizes familiar faces, subjects and themes into a new, and moving, pattern.
Like Me
It’s quite easy to condemn teenagers when they publish a series of transgressive videos on Youtube just to get clicks. But sometimes, video clips go viral without an attention-seeking motive. The 2017 film Like Me juggles the relationship between this un-beseeching fame and its spiraling negative effects. It also entertains the idea of how reality...
Wild Boys
Four strutting teenage boys played by four strutting teenage girls compose the magnetic centerpiece of Bertrand Mandico’s heady debut feature, Wild Boys (Les garçons sauvages), which had its New York premiere on February 24th at The Film Society of Lincoln Center. Supremely bizarre, extraordinarily thoughtful, and operating according to a brilliant and idiosyncratic logic all...
Women Reply
Varda’s portrait offers a corrective to the oftentimes even more egregiously inadequate representations that preceded it . . . it’s clear that it isn’t so much women that warrant reinventing, but our understanding of womanhood itself.
NYFF 2016: My Journey Through French Cinema
In trying to pierce much too quickly and much too forcefully into the truth and beauty at the heart of cinema, Tavernier unfortunately overlooks the potential wider impact of his own encounters with movies.
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