Dallas Buyer’s Club
“[Inspired by true events, in 1985,] Texas cowboy Ron Woodroof … sees his free-wheeling life overturned when he’s diagnosed as HIV-positive and given 30 days to live. Determined to survive, Woodroof decides to take matters in his own hands by tracking down alternative treatments from all over the world by means both legal and illegal”–Container.
Set in the lower echelons of 1860s Paris, Therese Raquin, a sexually repressed, beautiful young woman, is trapped into a loveless marriage to her sickly cousin Camille by her domineering aunt, Madame Raquin. After she meets her husband’s alluring friend Laurent, she embarks on an illicit affair that leads to tragic consequences
Davey is a 17 year-old girl abruptly relocated by her grieving mother to the strange “atom bomb” town of Los Alamos, New Mexico. With the sudden and violent death of her father, the displaced Davey no longer knows who to be or how to fit in. Everything that once mattered suddenly seems insignificant. But when she meets Wolf, a mysterious young Native-American, while exploring the surrounding canyons, she feels he is able to see past her pain and into her true self.
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?”