Cláudio's Best Shot Pick: The Last Picture Show (1971)

The next episode of our series, 'Hit Me With Your Best Shot,' arrives tonight. It's focused on Peter Bogdanovich's The Last Picture Show. You still have time to participate! Here's Cláudio's entry.

Bogdanovich drops the audience inside a cold domestic scene early in The Last Picture Show. In the Farrow household, resentments and disappointments permeate the air, each individual stuck in their little bubble of dissatisfied placidity. Together yet alone, the Farrows' silence is a nervous thing, like a fly's wilting buzz as it suffocates in insecticide. Perchance to disrupt the muted disquiet, the matriarch enters her daughter's room and sparks a conversation. She tries to advise the younger woman, so she doesn't make the same mistakes her mother did. Mistakes like staying in their small Texan town, dying from boredom like the fly dies from bug spray.

"Everything's flat and empty here. There's nothing to do." – says Ellen Burstyn's Lois, her words reverberating through the film's most potent images…

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Best Shot Picks and Nathaniel's Choice from 'The Godfather'

by Nathaniel R

Our film title this week on Hit Me With Your Best Shot was in honor of the restoration of The Godfather (1972) for its 50th Anniversary. Here are the Best Shot choices from seven participants and my own towards the end of the post. Click on the images that follow to read the corresponding articles. I'll be "talking" inbetween the images about a film I've never written about before (!) as I select my own... 

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Hit Me With Your Best Shot: Kathleen Turner and Straight Camp

by Nathaniel R

Romancing the Stone's most famous sight gag. © 20th Century Fox

At the risk of accidental humiliation, like having a stranger end up face down in your lap due to a freak mudslide, I would like to propose a theory that Romancing the Stone (1984) is straight camp. Since no one can agree on a definition of "camp", let alone a heternormative variation on such a traditionally gay style / point of view, it's a risk. But looking back at Robert Zemeckis' classic adventure rom-com, the word 'camp' if not 'campy' kept coming to mind.

Right from its defining cheesy prologue, a heightened visualization of the last pages of a romance novel's already purple prose, it's an artificial wonder...

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Oscar Volley: Best Cinematography could make History

Team Experience is discussing the various Oscar categories. Here's Cláudio Alves, Nick Davis, Ben Miller, and Eurocheese discussing the Best Cinematography race.

CLÁUDIO ALVES: From an aged future that looks like the ancient past to a black-and-white nightmare of Expressionistic Shakespeare, from digital polish to a rainbow of 35mm lens flares, the Best Cinematography Oscar race presents a cornucopia of varied visual strategies. However, to celebrate this category for variety feels somewhat disingenuous this year. For the first time since the color and black-and-white categories merged in 1967, the Cinematography ballot looks identical to the Production Design one. Even though voted on by separate branches, these lineups' sameness speaks to a broader problem – how the Academy feels increasingly resistant to expand its interest beyond a select group of pictures each season…

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Best Picture, Black-and-White Edition

by Cláudio Alves

Ever since NEON released a black-and-white version of Parasite during the awards season's peak, we've begun a tradition here at The Film Experience of looking the Best Picture nominees each year, and trying to imagine what they'd look like devoid of color. Naturally, we'll never know that since making a black-and-white movie is much more complex than simply turning the saturation to zero. Matters of design and lighting are involved, as are other elements of pre and post-production. Still, it's fun to peruse movies in search of striking imagery. But of course, beyond personal amusement, there's another component to this exercise…

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