In the context of 1968, you had films of Third World resistance like The Battle of Algiers, The Hours of the Furnaces, and The Chronicle of Anna Magdalena Bach. But you have literally nothing else in the history of cinema that even functions anything like the stylistic conception of The Color of Pomegranates. And all for the better that it's uniqueness is a portrait of resistance.
A pure id film that doesn't ask anything of us. A film that never tries to terrify us—it is simply terrifying because it exists.
Discussed on the latest episode of The Cinephiliacs with Shotgun Cinema founder Angela Catalano.
A tale of phonies
Made by phonies
In second hand clothing
Who enjoy playing as phonies.
Flowers and garbage.
"Russell's most exciting moments are three-layered: a familiar narrative or comic convention is exaggerated into a transgressive act, then grounded with a flurry of humanizing psychological detail."
-Dan Sallitt, 2002.
American Hustle would easily fit into the same realm as Pain & Gain, The Bling Ring, and Spring Breakers in the excess/over-belief in the American Dream run of films that amounted to…
Not charted on maps
But preserved in paintings.
"Car le temps de l'amour
Ça dure tojours."
I could talk about how this film's structure finally achieves the blissful melancholy that has been at the heart of all of Wes Anderson's films. I could talk about the precision of his framing and tracking shots, and how often he finds visual comedy through a perfect edit, or the slight entrance of new material into the frame. I could talk about…