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  • A Ghost Story

    A Ghost Story

    "What follows the bump in the night are three sequences in the first half of the film that I won’t be able to forget. They are memorable for how they are shot—static long-takes—and for how they are interconnected—perhaps best described as a triptych of love, death, and grief."

    imagejournal.org/2017/08/28/ghostly-ghost-story-part-1/

    Here is part 1 of my two-part essay on A GHOST STORY. Consider this piece my working through some mixed feelings on the film.

  • Get Out

    Get Out

    "My job becomes how to rip that veil drawn over 'proceedings too terrible to relate.'" (Toni Morrison)

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  • The Tree of Life

    The Tree of Life

    ★★★★★

    Finishing up essay on TOL and have some new thoughts. I'm beginning to realize the full significance of the Job 38 frame. What's radical is that Malick is taking the Joban God-poet and translating it into a reframing of the God's-eye-view shot. Job 38 corresponds really nicely with what TM's doing if you construe his approach as associational form (Bordwell). As important as the sufferer's "Where are You?" in TOL is young Jack's "I wanna see what You see" and…

  • The Tree of Life

    The Tree of Life

    ★★★★★

    Showed the film to students this week.

    I've written quite a bit about The Tree of Life, but I have still often felt that I've not yet articulated why the film's so important to me on a more personal level.

    In the middle of the film when Malick is drawing the obvious contrast between the mother and the father--between the way of grace and the way of nature--he concludes the mother's sequence of scenes with young Jack praying by his…