The Tree of Life @ 10: The wonder of the movie theater

by Cláudio Alves

As a Portuguese cinephile, the last few weeks have been a weird mixture of happiness for others and ugly jealousy. Looking on social media, I can see international friends returning to movie theaters, fully vaccinated, while I remain at home, not knowing when such privileges will be accessible. I realize this bitterness is wrong, but I can't help it. I miss going to the movies quite terribly. I miss being engulfed by the images projected on the big screen and feeling a wall of sound crash over my head like a tidal wave. However, unlike other filmgoers, I don't care too much about the communal aspect of the experience (with the exception of film festivals).

As a way of exorcising these demons and explaining the yearning, let me describe one of the most memorable filmgoing experiences I can remember. It happened around a decade ago, upon The Tree of Life's release…

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The beauty of Emmanuel Lubezki's cinema

by Cláudio Alves

Before saying goodbye to our celebration of 2005, we must finish our look back at that year's Best Cinematography nominees. First up, we talked about the chromatic madness of Dion Beebe. Then, there were Rodrigo Prieto's cinematic elegance, the steely coldness of Wally Pfister's movies, and Robert Elswit's wide-angled wonders. Finally, we arrive at Emmanuel Lubezki, one of the past decades' most influential directors of photography. His free-flying camera movements, the masterful of natural lighting, and control of color are beyond description, so great is their beauty. No wonder AMPAS has fallen in love with the cinema of Emmanuel Lubezki, giving him eight nominations overall and three consecutive wins…

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25th Anniversary: "Reality Bites"

by Mark Brinkerhoff

Sandwiched between (and oft-overshadowed by) the so-called Baby Boomers and Millennials, Generation X, those born between 1965-1980, seems to get little attention from Hollywood — or from anyone, really. In fact, just last month CBS infamously omitted Gen X in an otherwise comprehensive chart, “Generation Guidelines Defined by Birth Year.” For Gen Xers (of which I am one), this was generally considered as simply par for the course. Of course, of course, of course! 

But 25 years ago this week, we got our cinematic Valentine in the form of Reality Bites, the seminal film of a “forgotten” generation...

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Review: Song to Song

By Eric Blume

It’s difficult to review Song to Song, the latest film from Terrence Malick, because based on the standards of cinema (plot, characters, structure, acting, etc.), it’s a pretty terrible movie.  But with this film, Malick continues his journey to discover some sort of new cinematic language and style that has a weird beauty all its own.

The story, such as it is, revolves around three people in the music business (played by Michael Fassbender, Rooney Mara, and Ryan Gosling).  They go in and out of relationships with each other and a few other folks (notably Natalie Portman, Cate Blanchett, and Bond girl Berenice Marlohe).  Malick gives you no real sense of time, so it’s never 100% clear what happens when exactly.  But there are many, many scenes with those five people running their hands over each others’ bodies while voiceover proclaims banalities about sex and connection...   

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10th Anniversary: Children of Men

David here on the tenth anniversary of a modern masterpiece...

Watching Children of Men at the end of this particular year is an almost surreal experience, because P.D. James’s dystopian vision of the world seems even more feasible than ever. It’s hard to not feel like the new president elect is leading us to a world like the one we glimpse on the video screens, where all cities the world over have been devastated by riot and ruin. It’s hard to not see the xenophobia of the Brexit referendum result in the end of the same video, which declares ‘Only Britain Soldiers On’, as if there’s some value to be had in a country that cages immigrants on train platforms and allows the privileged white man to shut himself off in glacial towers. “You know what it is, Theo?” says Danny Huston’s government minister of his cousin (Clive Owen), when asked how he lives contentedly shut off from the devolution outside. “I just don’t think about it."

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