The Films of Claire Denis: Stars At Noon (2002)

Towards the end of Claire Denis’s Stars At Noon, Benny Safdie’s CIA agent describes Central America as a “gambler’s paradise”. He says this with a smile and unconcerned attitude. Margaret Qualley’s journalist Trish looks at him with scorn. These two individuals know enough about this region that if it is a “gambler’s paradise”, then the... Continue Reading →

The Films of Claire Denis: Chocolat (1988)

The camera gives us, the audience,  a view of  the Atlantic Ocean. This scene is not particularly peaceful. The waters here don’t look beautiful. The ocean roils into muddy bubbles. An African-American father and son though play unconcerned in these not particularly calm waters. The camera then turns to a white woman named France, watching... Continue Reading →

Please Baby Please (2022)

Watching a film like Amanda Kramer’s Please Baby Please feels like looking into a window of the past. Not so much because it’s a period piece though that is a window into the past. No, it seems like a film that would fit alongside independent films made in the 1980s like Blue Velvet or Stranger... Continue Reading →

They/Them (2022)

Right now, there's a bit of slasher revival happening. There's been enough time since the end of the last slasher cycle that folks can come back to the genre with new eyes. It also allows for new perspectives. The feature debut of screenwriter John Logan (Skyfall, Alien: Covenant), They/Them brings a queer perspective to a... Continue Reading →

Hooptober 2022 #38: Nosferatu (1922)

One of the questions all horror fans and studios ask is “What’s the scariest movie ever made?” A question like that kind of serves no purpose. Fear is such a subjective thing. What terrifies or chills one person might be blasé to another. Rarely do films touted as “the scariest film in years” last past... Continue Reading →

Hooptober 2022 #37: Faust (1926)

Midway through watching F.W. Murnau’s silent classic Faust, I asked myself “Is this really a horror movie?” It feels like a stretch to do so. The film is undoubtedly a masterpiece of German Expressionism. Murnau, clearly in command of his craft, fills every frame of the film with astonishing images. There is horror and horror... Continue Reading →

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