Assembled from found film culled from propaganda reels, public service announcements, and movie westerns and set against a percussive, industrial soundtrack by David Byrne and Brian Eno, Bruce Connor’s America Is Waiting is a terse, but potent statement on the Reagan-era reactionary culture of moral righteousness, military aggression, and Cold War paranoia. Juxtaposing images depicting […]
Category: Film Festivals and Retrospectives
Min Yè, 2009
During the Q&A for the film, Souleymane Cissé and lead actress Sokona Gakou remarked that with only one remaining movie theater in the country, just being able to make a film in Mali is something of a small miracle. It is a responsibility to Malian and African culture that is not lost in Min Yè, […]
Intimate Confessions of a Chinese Courtesan, 1972
From the opening (recurring) sequence of a highly stylized nighttime image of snowflakes trickling through the saturated illumination of a roof opening in a feudal era estate and onto the lifeless body of an assassinated aristocrat, Chu Yuan illustrates his elegant command of composition and atmosphere in Intimate Confessions of a Chinese Courtesan. The film […]
The House of 72 Tenants, 1973
Adapted from a stage play, Chu Yuan’s enormously popular peasant comedy The House of 72 Tenants is a delirious, unabashedly old-fashioned lowbrow ensemble confection that features immediately recognizable film stars from the decade, over-the-top caricatured performances, preposterously convoluted schemes, and a requisite – and justly deserved – comeuppance of the powerful, self-indulgent, and corrupt evil […]
Deadline, 2003
Another highlight in what has proven to be an especially strong line-up for domestic-related human rights issues, Deadline follows the last weeks of outgoing Illinois governor George Ryan, a conservative Republican who had been closely following the cases uncovered by Northwestern University journalism students whose term project had led to the exoneration of 13 death […]
Persecution, 2009
The themes explored in Patrice Chéreau’s probing, tightly constructed Persecution are prefigured in the film’s disorienting (and quintessentially Chéreau) opening sequence. Scanning from one anonymous commuter to another, a panhandler makes her way through a crowded train before someone makes inopportune eye contact, and she responds by slapping her face. The episode intrigues a bystander, […]





