A Globalized Supply Chain: Sean Wang’s A Marble Travelogue

By Yun-hua Chen. Sean Wang, with his unique sensitivity, sharp observation, and a somewhat dry sense of humor, reveals just how surrealist the supply chain system under globalization can be.” A Marble Travelogue, a coproduction of China, France, Greece, and the Netherlands, premiered at the IDFA Frontlight in 2021. It […]

Things Get Ugly with The 355

By Elias Savada. The top-notch female cast isn’t provided a decent blueprint to develop out of the provided stereotypes. The James Bond—Mission: Impossible spin that the actors try to emulate never takes full flight.” Universal Pictures’ The 355, a shiny production of a fairly dull film, is being pushed as […]

The Future of Preservation: ASN Roadshow Edition 2

By Elias Savada. The Association of Moving Image Archivists (AMIA) has supported a wide variety of members from around the globe: ‘archivists, librarians, collectors, curators, students, educators, artists, technologists, researchers, distributors, exhibitors, service providers, consultants, and advocates,’ according to its website.” Yeah, you’re asking yourself, what the F is ASN […]

Delayed Gratification – ReFocus: The Films of Albert Brooks

A Book Review by Thomas Puhr. A much-needed overview not just of the filmmaker, but of his enduring cultural impact.” Read any critical piece on Albert Brooks and you’ll invariably encounter descriptors like “underappreciated” or “overlooked.” But what is meant, exactly, by such labels? After all, two of his films […]

Noir and the Current Moment: Eddie Muller on Dark City and Programming

Below is an excerpt from “‘Just How You’re Wired’: Talking Noir with TCM’s Eddie Muller” by Zoe Kurland, which is forthcoming in Issue 19.3 of Film International: Noir 2020 and Beyond, a special issue guest edited by Retreats from Oblivion: The Journal of NoirCon. [Noir is] just as cogent, even […]

New York Stories: Dasha Nekrasova’s The Scary of Sixty-First (2021)

By Thomas Puhr. Nekrasova shows a willingness to tackle taboo subject matter in what is nominally a comedic genre exercise.” The opening credits of The Scary of Sixty-First (2021) deftly blend elements of ‘60s and ‘80s horror. The pink, handwritten font – played over panning shots of Manhattan – instantly […]