In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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コンテンツは Lost in Criterion によって提供されます。エピソード、グラフィック、ポッドキャストの説明を含むすべてのポッドキャスト コンテンツは、Lost in Criterion またはそのポッドキャスト プラットフォーム パートナーによって直接アップロードされ、提供されます。誰かがあなたの著作物をあなたの許可なく使用していると思われる場合は、ここで概説されているプロセスに従うことができますhttps://ja.player.fm/legal。
The Adam Glass and John Patrick Owatari-Dorgan attempt the sisyphean task of watching every movie in the ever-growing Criterion Collection. Want to support us? We’ll love you for it: www.Patreon.com/LostInCriterion
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638 つのエピソード
すべての項目を再生済み/未再生としてマークする
Manage series 2883660
コンテンツは Lost in Criterion によって提供されます。エピソード、グラフィック、ポッドキャストの説明を含むすべてのポッドキャスト コンテンツは、Lost in Criterion またはそのポッドキャスト プラットフォーム パートナーによって直接アップロードされ、提供されます。誰かがあなたの著作物をあなたの許可なく使用していると思われる場合は、ここで概説されているプロセスに従うことができますhttps://ja.player.fm/legal。
The Adam Glass and John Patrick Owatari-Dorgan attempt the sisyphean task of watching every movie in the ever-growing Criterion Collection. Want to support us? We’ll love you for it: www.Patreon.com/LostInCriterion
…
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638 つのエピソード
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×Jean-Luc Godard's goodbye to cinema, at least for a time, Weekend (1967) is not just a condemnation of bourgeois values, but a stunning attack on automobile culture. Sure the messaging is scattershot at best, but there's little in the film that isn't memorable. And it's gotta be hands down the film with the largest salvaged car budget.…
The last of Pasolini's Arabian Nights betrays a director who is steadily on his way to making Salò, and he would begin work on that magnum opus just after he finished Arabian Nights. Like the previous two films in this trilogy, Arabian Nights adapts a well known collection of stories with a heavy focus on the most erotic ones. Pat argues that unlike the others Arabian Nights feels more dour, less fun. Adam's not so sure. But in either case Arabian Nights is filled with memorable and provocative images, like the dildo arrow.…
Continuing through Pasolini's Trilogy of Life this week we have The Canterbury Tales (1972). Pasolini's adaptation of a a foundational English text includes many naked and British people, including Tom Baker. While the film's epilogue changes the book to make these tales "told only for the pleasure of telling", Pasolini's celebration of pre-consumerism sex comes with a certain growing darkness. We'll talk more on that next week, but for now let's enjoy medieval Charlie Chaplin.…
Spine 631 is a boxset of Pier Paolo Pasolini's "Trilogy of Life", a collection of adaptations of collections of stories. We kick it off this week with The Decamaron, based on Giovanni Boccaccio's 14th century collection of tragic and erotic stories. Pasolini adapts these as celebrations of pre-capitalist, pre-consumerist sex, language, and dentistry. Pasolini's Decamaron is very horny, and very fun. We can't wait to see what he does in the rest of the Trilogy of Life…
Roman Polanski adapts Ira Levin's 1967 novel into this 1968 film, though adapts may not be the right word. Transcribes, maybe? The original cut was a very faithful transference of the source material into the film medium, perhaps more faithful than any novel to film adaptation has ever been. Then he let someone else edit it down to a reasonable movie. Mia Farrow is great in it, perhaps because her personal life married to Frank Sinatra was pretty close to Rosemary's story. John Cassavetes is great in it despite Polanski's best efforts to reign him in. And I know have a least favorite cinematic satan to add to the list.…
John Schlesinger's Sunday Bloody Sunday (1971) is a deeply personal work, presaging New Hollywood while making something neither New Hollywood or the British New Wave would dare. We meet a middle-aged doctor, Daniel, and a 30 something divorced woman, Alex, who are both dating Bob, a young artist who makes them both feel alive even if he's a self-centered jerk most of the time. Like the average non-Lubitsch film about polyamory, this relationship is obviously doomed, but the exploration of Daniel and Alex's emotional journey in their final week with Bob is exquisite. Plus, we get to meet some of the most wonderfully precocious we've ever seen in a Criterion picture.…
Joshua Marston's The Forgiveness of Blood (2011) takes a hard look at the effects of honor codes that get twisted into demanding blood penance. It's a fantastic familial drama, but also gives us a jumping off point to talk about (re)interpreting (para)religious texts to favor mercy and care, and also how both Sovietism and capitalism seek a hegemony that the state controls. That's right, Pat crosses to Adam's side and flirts with anarchism this week on Lost in Criterion…
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1 Holiday Special 2024: Powwow Highway (1989) 1:57:27
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Jonathan Wacks' Powwow Highway (1989) takes a lot of trappings of a holiday road movie, but leaves them behind when needed as we explore the characters and relationship of two Cheyenne men struggling in to hold onto tradition in a world controlled by colonizers. This may be the first holiday film we've covered where the only person who says "Merry Christmas" is the villain. Christmas in Powwow Highway exists as a colonizers' holiday, but perhaps one held in tension as well. Our dear friend Stephen G. joins us for as we celebrate another year in the books!…
There are two David Fincher movies in the Criterion Collection, and The Game (1997) is the better one by a long shot, solely for not featuring the monstrous simulacrums of the human form that exist throughout The Curious Case of Benjamin Button (2008. Spine 476). The Game is mostly an interesting thriller that doesn't do enough with its San Francisco setting, but then in the last few minutes it jumps of a building and utterly fails to stick the landing.…
Marcel Carné made Les Visiteurs du Soir (1942) during Nazi occupation of France for a Nazi-owned production company, and while one could argue that this is collaboration and one could also argue that Carné used his position to help Jewish artists keep working, that fact that this is a Nazi-produced film is somehow not the most egregious part of the production. We spend a lot of time on what the most egregious part actually was in this week's episode, actually. Carné was clearly a man in conflict during production, but it's still mostly a delightful film and another data point for my list of cinematic Satans.…
Paul Bartel directs this black comedy that's "not Lubitsch—but it’s not quite John Waters either", according to Criterion essayist David Ehrenstein. Eating Raoul (1982), is a story of America, of the normally hidden and unpunished violence of wealth accumulation. Or it's a story of America, of two prudish weirdos punishing the people they don't like. Or it's a story of America. the dream of revenge against the managerial class. Or it's none of these things completely, as we get into a discussion this week about just how strong the metaphor in Eating Raoul is. But hey, it's still a pretty fun movie.…
In 1975, the enigmatic Ken Russell adapted and directed The Who's concept album/rock opera Tommy into a memorable film. The Who, apparently, really enjoyed making movies and decided to follow it up four years later with an adaptation of Quadrophenia (1979), but this time hiring Franc Roddam who would go on to create MasterChef and is noticeably not Ken Russell. Quadrophenia is a throwback to kitchen sink dramas, angry young men disillusioned with a society they will be joining within a few months, but mostly just fighting each other and being sexist and racist while their at it. For a film about some of the most stylish subcultures of 20th century Britain, the film itself lacks style and flair, but maybe we just wanted Ken Russell back. It's a bit like Stephen King movies after The Shining.…
We get three early films from Paul Fejos all under the banner of his 1928 part-talkie Lonesome. Also on the Criterion release is the much more interesting to us Broadway (1929) and the much less interesting to us The Last Performance (1929). Each film is inventive and interesting in its own right, but Broadway just kept getting bigger, facilitated by Fejos and his team inventing a camera crane, and then needing to build a sound stage that could accommodate their camera crane, and then needing to make a movie to justify it all. The additional features on the Criterion release also give us plenty to talk about with biographical information on Fejos' later-career shift to anthropology and ethnography, a topic we are always willing to jump in on, though Criterion doesn't provide any examples of this aspect of his work.…
Andrew Haigh's Weekend (2011) is an exquisite character study of a Friday-Sunday fling between two pretty opposite young men, in a precarious time where homophobia is constantly bubbling in the background. It's also just one of the cutest love stories we've experienced in the Criterion Collection. Just an absolute delight of a movie.…
Last week Criterion introduced us to the work of Luc and Jean-Pierre Dardenne with a phenomenal film, but this week they follow it up with something somehow even better. From it's frenetic first few minutes, Rosetta (1999) is the story of a a young woman that believes she can find freedom, or at least dignity, or at least normalcy in work. But she, and we, live in a society that doesn't actually care about freedom or dignity or even, really, normalcy, at least not for the lower rungs of the economic ladder Rosetta lives in. It's sort of an answer to and modernization of Bresson's Mouchette (1967), but the Dardenne are much more interested in social realism than Bresson ever was. Like last week's film, and many social realist films we've seen, Rosetta doesn't end on a hopeful not, but perhaps on the hope for hope and the promise of freedom and dignity that comes from community and care. We need that now.…
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