CinemaReads

The Epistemology of Moonlight

Sarah Foulkes (Film Matters Magazine)

Moonlight distinguishes itself in the cinematography. Jenkins avoids the trappings of unchallenged voyeurism and “trauma porn” by implicating the spectator through direct address and point-of-view shots. Read more (1384 words).

The Before Trilogy: Time Regained

Dennis Lim (Criterion)

All three Before films take the form of psychogeographic drifts, transporting the lovers along scenic routes filled with temporal markers and memento mori: passing landscapes from a moving train, the gently flowing Seine, the age-old Greek ruins Read more (4058 words).

The Meaning of The Red Turtle: Nature’s Beautiful Chaos

David Duprey (That Moment In)

The Red Turtle is an animated film about a man seemingly shipwrecked on a deserted island who meets a large red turtle that has profound effect of what happens next, though there is much more we can learn from this breathtaking parable on the meaning of life. Read more (1446 words).

Charm, Courage, and Eruptions of Vulgar Force: Wes Anderson’s The Grand Budapest Hotel

Daniel Garrett (Offscreen)

The Grand Budapest Hotel is a film of colors and qualities, a film of friendship and love, leisure and war, a film in which virtues are countered by vices, a film featuring aesthetic appreciation and greed, elegance and crudity, kindness and brutality, and tragedy and hope. Read more (4311 words).

The Curious Adaptation of Benjamin Button: Or, the Dialogics of Brad Pitt's Face

James N. Gilmore (Mediascape)

The Curious Case of Benjamin Button digitally ages Brad Pitt’s face across decades. This digital technology reemphasizes the star as a site of meaning creation, as the site of adaptation itself. Read more (6343 words).

The Love of Antagonism in Le Mepris

Todd McGowan (Acidemic Journal of Film and Media)

Le Mépris shows that desire is this kind of failure to discern the desire of the other, which always remains an impossible object even in the closest romantic relationship. Read more (2629 words).

Mission: Impossible III: Anatomy of the Action Picture

David Bordwell (David Bordwell's website on cinema)

Clear and simple in outline, the classical film’s dramaturgy can be manifested in intricate and subtle ways. Like a well-made play, a film can fulfill principles of unity clumsily or adroitly. I’d put M:I:III in the mid-range. The action movie needn’t be considered a mindless splatter of violent spectacle and CGI. It can have a cogent architecture. Read more (4877 words).