The Furniture: Social Distancing with Safe

"The Furniture" is our series on Production Design by Daniel Walber. Click on the images to see them in magnified detail.

Safe turns 25 years old this week. I’d say it’s “more relevant than ever,” but just typing those words felt ridiculous. Todd Haynes made Safe about the way America responded to AIDS, and that’s still relevant because America has not changed. And so here we are, in another crisis of public health, watching the same phenomena play out in similar ways.

Let's talk about two of them. First, the way that AIDS was ignored by those who saw themselves as unaffected, even immune. Reagan could choose to do nothing because, to so many Americans, it happened to “other people.” Second, the way that its victims were blamed for their own sickness. Contracting HIV was seen as the result of a moral failure - something we’ve seen time and again, from cholera and tuberculosis to SARS and COVID-19.

25 years later, another Republican president is playing the same game. The response has been a torrent of virulent racism and an utter denial of medical reality. And once again, there is a prevailing attitude that contracting the virus is one’s own fault.

Did rewatching Safe make me feel better about any of this? Absolutely not. But it did cause me to think about a new relevance...

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Sandy Powell as an auteur and the splendor of 2002

by Cláudio Alves

Auteur theory may be important, but it has clear limitations. Cinema is an intrinsically collaborative art form and the creation of the cinematic object often involves the work of numerous artists brought together by a common creative mission. To point at one of those minds as the singular visionary of a film is, in part, to erase the authorship of the others. Over the years, scholars, critics, and casual cinephiles have argued for the auteur description to be expanded beyond directors, often signaling actors and writers as good candidates for that same validation. I'd argue that all sorts of contributors to the construction of cinema can be seen as artists who bring their authorial voice to their filmography.

For example, costume designers like Sandy Powell may putatively work for their director's grand vision. However, if you look at their filmography, you see recurrent obsessions and mechanisms, repeated themes, and the development of a personal aesthetic that transcends the limits of directorial intent. Since we're celebrating the year of 2002 because of the impending Supporting Actress Smackdown, I invite you all to consider Powell's authorship as we explore her fabulous designs in Gangs of New York and Far from Heaven…

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Tis the Season; Carol-mas

Today we celebrate the anniversary of Carol and Therese's first date. That fraught with desire and longing first date. That rudely interupted by Harge first date. That beautiful trip from NY to NJ that felt like a lifetime and looked as dreamy and gorgeous as a water color painting come to life.

I'm celebrating by going to a screening of Carol (2015) at Metrograph in NY, introduced by master cinematographer Ed Lachman. How are you celebrating Carol day?

Review: Todd Haynes returns with "Dark Waters"

by Murtada Elfadl

You know you are in good hands when the actor chosen to come in and jumpstart the plot, give dimensionality to the film, or just wreck the audience hearts is Bill Camp. This is exactly who Todd Haynes chooses to do all three of these things in Dark Waters. Camp is a Virginia farmer who calls on a corporate lawyer he knows from the old neighborhood (Mark Ruffalo) to help him sue the big corporation that is killing his animals, his family and himself with the toxic waste they spill out in the water system and into the bodies of the unsuspecting.

This is just the tip of a big iceberg that Robert Bilott (Ruffalo) uncovers...

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Mark Your Calendars!

by Nathaniel R 

Given the release of Parasite this very weekend, and Judy, Pain and Glory, Hustlers, also in theaters with Oscar buzz in various categories, it's safe to say that Prestige Film Season is more than underway. So we thought we'd update that calendar now.  Here's how the schedule is looking for awards hopefuls in terms of important dates so mark your calendars...

OCTOBER

RIGHT NOW - Limited Release: Parasite (Bong Joon-ho's South Korean Oscar submission), The King (Shakepearian drama starring Timothée Chalamet), Missing Link (animated hopeful ) begins streaming on Hulu

NEXT WEEKEND - Limited Release: JoJo Rabbit (Taiki Waititi's Nazi satire), The Lighthouse (Dafoe's latest bid for gold, a black and white horror-tinged hallucinatory drama), The Laundromat begins streaming on Netflix

25th -Dolemite is My Name begins streaming on Netflix... 

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