The care put into each frame denies the viewer the usual accoutrements of passive viewing, down to the very physicality of the experience.
The film is essentially a salute to silent film, featuring a pristine, romanticized fabrication of pre-war France; the sense of wistfully recollecting bygone days is even stronger when viewed today.
Zemeckis' lesser known films provide a context for the director’s consistent style—as well as that style's consistent variability.
Our cultural assumption, in dystopian films, is that the morally upright, empathetic, and resourceful band of survivors will succeed and reestablish society. But to Rinner, these assumptions specifically play off both the simplification and commodification of disaster scenarios.
The exciting possibilities of more extensive 3D restoration are clear from this first showcase. The different films provided a broad range of interesting, well-crafted cinema, in re-mastered versions of their intended format, otherwise lost to the past.
Nick Lieberman reviews Barbara Kopple's Oscar-winning documentary, which plays in the Museum of Modern Art's series "Oscar's Docs 1955-2002: American Stories." The series runs from February 2nd through February 14th. Check out the rest of MoMA's lineup at http://www.moma.org/visit/calendar/films/1350.
Olivia Domba on Sally Cruikshank, one of the most wildly inventive animators alive. A program of her short films will screen at MoMA on Monday, October 29 at 4p.m.