100th Anniversary: "Leaves from Satan's Book"

by Cláudio Alves

Carl Theodor Dreyer is one of my favorite filmmakers. I'll never forget the first time I watched The Passion of Joan of Arc on the big screen and was transported, how experiencing Vampyr felt like witnessing a projected nightmare, the ecstasy of Ordet's ending or Gertrud's stern ruminations on love. It's to my great shame that I'm not familiar with the Danish director's early works, having mostly ignored them until now. The centennial of Dreyer's second feature, Leaves from Satan's Book, makes this a great time to start correcting these cinephilic lacunas…

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Ethan Hawke at 50: An Appreciation

by Lynn Lee

If I had to pick one actor who most perfectly embodies the spirit of Generation X, the choice would be a no-brainer.  With all due respect to other 40 and 50something stars (Leo, Brad, Johnny, Keanu) or dead icons (River, Heath) in his peer group, it could never be anyone other than Ethan Hawke.  Not because—or not only because—of Reality Bites, which made him the poster child for cynical, disaffected (but secretly vulnerable) Gen X slackers everywhere.  Rather because his career exemplifies the quiet independence and under-the-radar achievements of that not-quite-lost, but certainly liminal, generation.  He’s been working steadily since his debut, at the age of 14, in Explorers (1985), yet like any good Gen Xer, has successfully eluded easy characterization.  He reaches the half century mark today having assembled one of the most intriguing and eclectic bodies of work of any currently living actor... 

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25th Anniversary: "Home for the Holidays"

by Mark Brinkherhoff

In high school, I managed to hoodwink my journalism advisor into letting me review movies for our semi-regular school paper. In some cases, these were movies my parents certainly did not approve of (Se7en, Showgirls, etc.); in other cases, there were movies I would have seen anyway but was able to write off as a “class expense.” Home for the Holidays, Jodie Foster’s sophomore directorial effort, fell into the latter camp.  

Arriving on a post-Oscar blitz of new films starring Holly Hunter (e.g. Copycat, Crash—no, not that one), Home for the Holidays got lost in the shuffle of both 1995’s crop of holiday fare and its stars own filmography...

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Monty @ 100: The recent documentary "Making Montgomery Clift"

by Sean Donovan

As a kind of epilogue to our Montgomery Clift Centennial series, in which we revisited every film of his, let's discuss a curio that made the festival rounds in 2018 and 2019. The documentary Making Montgomery Clift was co-directed by Hillary Demmon and Monty’s nephew Robert Clift. Robert is very much foregrounded as a protagonist of the film as he attempts to do much of what the Film Experience team has been attempting over the past two and half weeks: to grapple with the legacy of Montgomery Clift and bask in the immortal work he has left behind. Making Montgomery Clift is an imperfect project, and those imperfections arise out of an enormous emotional attachment to the subject that can’t hep but obscure our view of the man and his work.

Making Montgomery Clift provides an overview of the star’s life and career trajectory, the highlights and lowlights that have been gestured to in posts throughout this series: Clift’s struggles with alcohol and pills, his queer sexuality, the traumatic car accident that transformed his career, his reputation as a difficult diva of a movie star, etc. But the film also does the invaluable work of tracing the discourse of our pop culture knowledge of Clift himself: when and how the legend of Monty Clift was written...

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The Strange Pleasures of "Strange Days"

by Cláudio Alves

In a future that's now our past, Strange Days tells a beguiling and disturbing tale of addiction and police brutality. Kathryn Bigelow's most most ambitious project to date, at least at the level of form and theme, opened in movie theaters twenty-five years ago today. Mixing social commentary with action excitement, insane feats of camera choreography, and feverish performances, the movie's a testament to its director's skill even if it wasn't the title that won her the Oscar. It's also a heady thrill ride that's out to dazzle the spectator, to shock them and galvanize too. Pleasure and violence are forever intertwined in this dream of celluloid.

The setting is Los Angeles on New Year's Eve, 1999, and the air is suffused with the threat of revolt. Strange Days, which opened in movie theaters on this very day in '95, posits a near future where technological advancements have made it possible to record and share memories...

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