4:44 Last Day on Earth
A look at how a painter and a successful actor spend their last day together before the world comes to an end.
A con man, Irving Rosenfeld, along with his seductive partner Sydney Prosser, is forced to work for a wild FBI agent, Richie DiMaso, who pushes them into a world of Jersey powerbrokers and mafia.
Continue reading “New Titles – June 2nd”
The Oscars are a behemoth. For 85 years, the Academy of Motion Picture Arts and Sciences has been awarding honors to the outstanding (mostly American, largely anglophone) films of each year, and in so doing have created a sort of canon (a strange canon, admittedly; where are Badlands, Do the Right Thing, and Paris, Texas?). Engaging critically with any canon is important not only toward understanding the biases (and potential shortcomings) of a list and its originating institution, but also toward a larger project of recognizing our cultural psyche. It’s too simple, of course, to suggest that the movies we create and experience directly reflect the “id” of our collective consciousness, but it is valuable to try and understand the ways in which its products reify the structural underpinnings of the sociocultural sphere.
In other words, how do the movies we celebrate reflect what we care about? What do this year’s films suggest are our larger concerns? Is it: anxiety about the digital sphere and the possibility of human connection therein? the persistence of white guilt and the problematics of race relations? lineage and generational tensions in how we narrate our lives? the tyranny of neoliberal capitalism, and its attendant psychosocial fatigue? all of the above? Obviously these are simplistic assessments of complex films and their themes, not to mention that there were many other films made outside of the insular Academy candidate pool, but these questions offer a starting point, if no easy answers, toward understanding our own patterns and anxieties.
Continue reading “What are the Oscars?”