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[musette22]

not entirely sure what's happening here but look at him!! aaww happy boy 💕

[vampilllia]

against the idiom: a conversation with jean-pierre gorin

[vampilllia]

against the idiom: a conversation with jean-pierre gorin

[vampilllia]

against the idiom: a conversation with jean-pierre gorin

[vfitz]

Perdita Durango

For those inclined to level up—or down?—from New York’s ubiquitous repertory screenings of Wild at Heart (1990), Perdita Durango (1997) mine

On Perdita Durango (1997) for Roxy Cinema's 35mm screenings, for Screen Slate.

[vfitz]

The Game

In The Game (1997), credible briefcase-carrier Michael Douglas plays financier Nicholas Van Orton, a glacial adaptation of Fatal Attraction’

On The Game (1997) for Nitehawk Williamsburg’s 35mm screening, at Screen Slate.

[vfitz]

To Sleep with Anger

Is Danny Glover the devil? That’s not not the foremost contention of writer-director Charles Burnett’s To Sleep with Anger (1990), whose title, in transposing Ephesians 4:26’s familiar counsel—“do not let the sun go down on your anger, and do not make room for the devil”—to the present infinitive, suggests an ambivalent contemplation of the Faustian bargain, wise to its pull as well as its peril.

On To Sleep with Anger (Burnett, 1990) for Screen Slate.

[nathanieldorsky]

Screen Slate: Recent Works by Nathaniel Dorsky

Article on screenslate by Maxwell Paparella about the film show at The Museum of Modern Art in New York, where six of Nathaniel Dorsky’s newest films were presented by Mark McElhatten.

Recent Works by Nathaniel Dorsky

"Excuse all of my titles," Nathaniel Dorsky says in a prerecorded video introduction, the many charms of which send the audience already elated into a program of six recent 16mm films—Canticles (2019), Lamentations (2020), Temple Sleep (2020), Emanations (2020), Ember Days (2021), and Terce (2021)—spanning these years of the pandemic and shown in the order of their making. Any writing about Dorsky’s work should serve only as recommendation to the uninitiated, with the caveat that (as Mark McElhatten writes in the précis to his MoMA "Carte Blanche" series, of which these screenings are a part) this program is "an experience that can't be summarized made up of films that can't be told."

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