Movie magic should not be as imperiled as it currently is, and with no excuse.
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The translation of dance onto film has long mystified cineastes, who grapple with capturing its red-blooded nature without resorting to mere documentation.
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Long dismissed as mere cosmetics and playing dress-up, women’s cinematic fashions have inspired far-reaching cultural trends by reflecting or encouraging resilience.
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Our attention is drawn to the nature of artifice and performance in Suzan-Lori Park’s “Topdog/Underdog”, directed by Billy Porter.
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With so much to unpack and take into account, we are forced to think for ourselves and consider what both unites and separates the visual from the sonic, filling in that sublime gap with the emotional responses solicited by the works.
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“Moonlight,” with its sensuous humidity, chopped-and-screwed score and melancholy pace, has haunted and halted me from figuring out just what it is that makes it a movie for the ages. Perhaps that’s the point.
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After the creative boom of the ‘70s, the Hollywood pendulum swung away from the cinematic achievements it had produced at its auteur zenith and towards the lowest common denominator.
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It’s sink or swim time and people have already started to swim away. Grammys, try to stay afloat.
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Even the decade’s less obviously male-driven films situated themselves firmly in the masculine camp.
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A simple look at “Girls” proves it is as nimble and essential a work of art as we have ever needed, yet the series’ success is often undermined by a hyper-politicized world where you either stand with or against its creator.
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The move towards detached fantasy would ultimately mark the ‘60s as one of the most backwards-looking decade in Oscar history, giving seven top prizes to movies that dwell on times gone by.
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Seeing that this was the decade that cemented the notion of Americana as ideal and continued to ride the jingoistic wave of the post-war late ‘40s, it scarcely comes as a surprise that the Academy would want to rise above the grim immorality on display in these films.
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