Nat Zingg

interests include: classic hollywood, silent film, historical avant-garde, latin american cinema, HK/chinese cinema

Favorite films

  • The Young and the Damned
  • Gun Crazy
  • Les Carabiniers
  • The Taking of Power by Louis XIV

Recent activity

  • Wichita


  • Nichols and May: Take Two


  • To Live and Die in L.A.


  • The Beatles: Get Back


Recent reviews

  • The Executioner

    The Executioner


    Likely one of the outwardly-facing films from Franco's Spain, directed to international festivals etc., to show off a presumed 'liberal' national cultural sphere. Interesting how elements of Antonioni's art-film meditations on bourgeois melancholy (see: the Mediterranean locations, the sunglasses, the touristic wandering) are deformed here into something far more explicitly pointed, darkly satirical.

  • Redoubt



    Haven't kept up with Matthew Barney since seeing the CREMASTERS at Dobie Mall years-back but this seemed totally different; REDOUBT is something more like "traditional narrative cinema" in almost an American-silent-film-type vein, montage always cutting between two things in parallel, providing the familiar feeling of narrative tension: the engraver Barney vs. the hunter's posse; a character watching vs. whatever's-being-watched; character vs. his/her natural surroundings (often animals snooping around, or carcasses). Playing with genre as well, establishing shots show horse-spurs, mason-jars…

Popular reviews

  • Céline and Julie Go Boating

    Céline and Julie Go Boating


    Rivette anticipates VHS and DVD culture as the characters Celine and Julie replay the same narrative (a strangely stilted, period melodrama of a love-triangle and a child in trouble) over and over, entering the world of melodrama by sucking on a candy (the equivalent of pressing play with your remote control). Celine and Julie (re-)watch the same scenes in different sequencings; with actors being swapped one for another; with the conceit that a child can "pause" the action by looking…

  • The Kneeling Goddess

    The Kneeling Goddess


    It is pretty cool how Gavaldón and crew manipulate the architecture of Antonio's (Arturo de Córdova) mansion to provide a kind of schematic framework for the film as a whole. The most prominent feature of the house is one long, expansive hall, stretching seemingly from one end of the house to the other. At each end there is a piece of art: a painting of Antonio's wife Elena above the fireplace, and a marble statue of his lover Raquel (María…