By John Duncan Talbird. We open Don’t Call Me Son on Pierre (astonishing newcomer Naomi Nero), pleasantly drunk or high, beautiful and mascaraed with long, wild hair, loping through a party, teens dancing by themselves or in pairs to electronic music. The handheld camera follows him and we see that […]
ONLINE | Thinking Film Since 1973
Jenny Paola Ortega Castillo
Dead Souls on the U.S. Border: On Alex Cox’s “Final Film”
William Blick
Questioning Authority: Jim Towns’ Mercy
