Hi there. My name is Jon and for the last year, my friend Chris and I have been doing a monthly movie podcast called Cinema Dual, where we talk about a pair of movies around a theme of our choosing. Nice and simple. Well, we watch movies more often than we can talk about movies... Continue Reading →
On this episode of Cinema Dual, Jon and Chris talk about a couple of movies nominated for Best Picture at the 93rd Academy Awards.
The problem of evil is typically relegated to cosmic and philosophical concerns, and the centuries of continually progressing debates do not speak well for any particular theodicies that have been presented so far. But that frustration doesn't necessarily subside on the other side of religious belief. A worldview (religious or otherwise) that provides meaning can be very appealing. Consequently, events that don't fit within the structure of that view can feel threatening to one's sense of stability, and should be ignored if possible.
On this episode of Cinema Dual, Jon and Chris talk about a pair of experimental movies from filmmaker William Greaves.
Take martial arts action, sleazy exploitation and supernatural horror, sprinkle it with a small dose of sex comedy. Give it an almost non-existent budget, populate it with a bunch of terrible but overjoyed actors and combine it with a concept straight out of the head of a nine year old weaned on cross-pollinated action figure mayhem and it STILL doesn’t come close to what ends on the screen, which is a ridiculously enjoyable B movie that gives 100%.
On this episode of Cinema Dual, Jon and Chris talk anime.
Didacticism in art can be tricky to pull off well. You can have a band like Rage Against the Machine, whose politics are notoriously and very obviously left-wing, get co-opted by their political opponents who can’t see the irony in their choices. Even successfully didactic art is subject to taste, because some people don’t find a lecture all that inspiring. While the ideal balance between art and education isn’t always the same for every project, it does need to be considered. This week’s batch of movies finds Agnès Varda, no stranger to directness, pushing that balance in interesting ways.
On this episode of Cinema Dual, Jon and Chris talk about Swedish filmmaker Ingmar Bergman. Movies Discussed: The Seventh Seal, Smiles of a Summer Night Recommendations : Wild Strawberries, Summer With Monica (Chris), Shame (Jon) If you like our film thoughts, you can find more of them at http://www.cinemaduel.com. Follow us on Twitter: @jonmichaelnoise @cmvoss042 Follow us... Continue Reading →
For all of the struggles that Agnès Varda would experience with the Hollywood establishment in the context of her career as a filmmaker, she never let those experiences go to waste. Indeed, the majority of her “California” work was produced over a couple of trips, one in 1968 and another in 1979, and was borne out of professional and even personal challenges. The first trip in 1968 saw Varda trying to get a film project off the ground while her husband Jacques Demy similarly was attempting his own Hollywood breakthrough. The second trip in 1979 saw Varda set out by herself (and her son) on a film project that would almost immediately collapse.
If Agnès Varda could be described as an observant person, that focus of perception would strike especially true for the neighborhood where she lived for most of her adult life: the Rue Daguerre in Paris. The early 70s were a relatively fallow period for Varda artistically...Fortunately a German production company reached out with an offer to let her make any kind of movie she wanted. Varda decided to make a movie within that community circle, with her focus on the shopkeepers of Rue Daguerre.
If Agnès Varda could be described as an observant person, that focus of perception would strike especially true for the neighborhood where she lived for most of her adult life: the Rue Daguerre in Paris. The early 70s were a relatively fallow period for Varda artistically...Fortunately a German production company reached out with an offer to let her make any kind of movie she wanted. Varda decided to make a movie within that community circle, with her focus on the shopkeepers of Rue Daguerre.
