Hollywood has always been most comfortable functioning as the world’s dream factory, but in moments of international crisis, the depiction of reality on-screen can become both a social imperative and a political flashpoint. In his 2014 book
. . .
Read More
Related Posts:
[The Daily] Roger Moore, 1927–2017 “He was the epitome of the suave English gent, quipping sweatlessly in a bespoke three-piece suit, who enjoyed an acting career spanning eight decades,” writes Benjamin Lee for the Guardian. “On Tuesday, Roger Moore’s childr… Read More- [The Daily] Cannes 2017: Claude Lanzmann’s Napalm “Of all of the documentaries made about North Korea by Westerners in recent years, Claude Lanzmann’s Napalm, which premiered Sunday out of competition at Cannes, is by far the most peculiar, not to mention the most brazenly … Read More
- [The Daily] Cannes 2017: Sean Baker’s The Florida Project “If you told me you could make a modern Christmas classic largely set outside a doughnut shop on Santa Monica Boulevard, centered on transgender prostitutes and shot on iPhones, I wouldn’t have believed you,” begins Ben Keni… Read More
- Seventy Years of Cannes: Blow-Up in 1967 Continuing my trip through Cannes history, today I’m focusing on one of the most celebrated works of Italian master Michelangelo Antonioni, who became an international sensation partly thanks to the booing and heckling he en… Read More
- [The Daily] Cannes 2017: Hong Sangsoo’s The Day After “To premiere one film at Cannes is an honor,” writes Nicolas Rapold in the New York Times. “Being granted two slots in the lineup is a major distinction indeed. But for the prolific South Korean director Hong Sangsoo, the tw… Read More
0 comments:
Post a Comment