ESSAYS
June 3, 2011
“Most critics really don’t get it.”, as they say. I feel compelled to respond to the casual filmgoers who don't understand the critic’s perspective.
July 24, 2011
The world is whole beyond human knowing. -Wendell Berry The Tree of Life, by renowned director Terrence Malick, is years in the making. Its history starts even before Malick’s previous film, The New World, was distributed in 2005. After generating a substantial amount of ink in the media, and hot on the heels of the film’s highly publicized win of […]
March 26, 2010
In Felicidades,several lives intersect on Christmas Eve in Buenos Aires as they all strive not to spend the holidays alone.
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.
October 1, 2010
The transatlantic slave trade was one of the most disruptive acts in history, separating Africans from their backgrounds, traditions, and identities. This has had a significant impact on diaspora films.
September 28, 2010
Hou Hsiao Hsien’s depiction of life in Flowers of ShanghaÏ explores the inherent contradictions in the era’s Chinese society.
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.
March 22, 2010
In Les Carabiniers, Godard is in control, from playing with our scopophilic gaze in the makeshift rape scene or denying us narcissistic satisfaction.
March 22, 2010
What I found most interesting in The World Of Apu is how much the representation of India came so close to my vision of Haiti, my native country.
September 28, 2010
Wong Kar-Wai is considered influential. In the Mood for Love (2000) was a big commercial success for him. How does it compare to Wong Kar-Wai’s other work?
October 1, 2010
In its perspectives and traditions, African cinema draws the spectator into its narrative, nurturing a symbiotic relationship with life itself.
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.