ESSAYS
March 22, 2010
Argentina has one of the most impressive cinematography in the world. Within that cinema, Fernando E. Solanas is a director of seminal importance. In his essay, Towards a Third cinema, Solanas and his co-writer, Octavio Getino, galvanize the overall revolutionary ideas of the time into the concept of a decolonization cinema, denouncing the weak, liberal arts that have, up until […]
September 28, 2010
This essay will explore the duality of Cronenberg’s works, as a statement on man’s curiosity and an open window to the unknown in Videodrome and eXistenZ.
March 26, 2010
In I Don’t Want To Talk About It which precedes her sudden death in 1995, Maria Luisa Bemberg explores the same themes as in her most famous movie, Camila.
October 1, 2010
In Come Drink With Me, King Hu considers each of the director’s tools, using camera movement differently than editing or the wide-screen space.
February 27, 2018
I’ve been excited about Black Panther from the moment I heard about it. Anything that involves Our Lady Lupita (you know her as Lupita Nyong’o) get me psyched. I adore Lupita—and the fact that she can actually spit some bars is icing on a fine cake.
October 1, 2010
There are some movies that change your perception of what is possible, what is allowed. Alexander Payne's Election was that for me.
March 22, 2010
The most striking aspect of the movie Araya is its beautifully contrasted black-and-white photography. Benacerraf effectively conveys her love of Venezuela.
March 22, 2010
Although separated by more than a decade, Funny Dirty Little War and Macunaïma both try to provoke social change by using satire.
March 22, 2010
It was a pleasant surprise to see Alice doesn’t live here anymore. Is it a feminist film? Can a male filmmaker look at a woman through a female perspective?
September 30, 2010
Central Station is one of the most popular and internationally acclaimed Brazilian films of the 1990s. It heralded a renaissance in Brazilian cinema.
October 1, 2010
In its perspectives and traditions, African cinema draws the spectator into its narrative, nurturing a symbiotic relationship with life itself.
September 28, 2010
David Ehrenstein condemns melodramas like Coming Home for perpetuating the illusion that they can affect social change instead of creating real change.