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  • On Essex Road

    On Essex Road

    Infinitely impressive how much better Cohen's (already great) eye for composition has become over the years; further proof of observation being a teacher for those willing to learn especially artists like Jem whose perspective is never one with a lack of interest.

  • Color-Blind

    Color-Blind

    It is clearer with every film (whether it be each new release or just revisiting one of the many great ones) that Russell is among the greatest, his psychedelic ethnography (coined by the man himself) one of the rare originals in a realm (contemporaneous art) grossly in need of them. His respect for the peoples that he portrays is always foremost and more often than not we get to learn by observing. Here especially we are taken to one of the peaks of cinema.

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  • RR

    RR

    “The film is called RR, but I like to call it “Railroad,” because RR sounds like a pirate movie.”—James Benning

  • The Neon Demon

    The Neon Demon

    Refn's film about cinema, tirelessly reiterating that the most important thing ("the only thing") is that which is seen and is immediately striking, interpretation a necessary result but one that only develops once one has been brought into and personally occupies the vacuum that is its allure. In one of the rare films where shot-countershot (and indeed any such uninventive or solely reiterative repetition of shots) does anything but take away from it Refn uses the technique to reveal whose…