In an early episode in Shoeshine, two boyhood friends, Giuseppe (Rinaldo Smordoni) and Pasquale (Franco Interlenghi), bargain with an opportunistic fortune teller named Anselmi (Maria Campi) over the sale of used American-made blankets before convincing the shrewd woman to give them a reading of their future. As the boys huddle curiously over a deck of […]
Born into Struggle, 2004
Part first-hand historical testament on South African anti-apartheid movement and part essay confessional (or perhaps even emotional exorcism) on the filmmaker and activist, Rehad Desai’s absence during the formative years of his own son’s life, Born into Struggle is an intimate and provocative examination of the personal legacy and intangible familial toll caused by the […]
The Page Turner, 2006
Favorably evoking Claude Chabrol’s La Cérémonie in its taut, slow brewing, and unnerving portrait of dysfunctional class relations, Denis Dercourt’s The Page Turner is a distilled, understated, and elegantly realized psychological tale of fragility, revenge, and manipulation. At the heart of Dercourt’s dark allegory is a polite, attractive, and meticulous young woman named Mélanie Prouvost […]
Ritual in Transfigured Time, 1946
A silent, textural, and hypnotic composition in movement and expression, the opening sequence of Ritual in Transfigured Time posits the innate duality of human nature as an animated, approachable female figure (Maya Deren) alternately framed in high contrast against a pair of interchangeable doorways, beckons a seemingly naïve young dancer (Rita Christiani) into a large […]
Meshes of the Afternoon, 1943
A large flower, the silhouette of a figure briskly walking away, a house key, a bread knife, a telephone receiver resting off the hook, and a spinning phonographic turntable define the shifting functional elements in Meshes of the Afternoon from which the film’s evolving, malleable construct – the fragile and tenuously interconnected mesh of actual […]
La Vie moderne, 2009
In an episode in Richard Copans’s autobiographical essay, Racines, an elderly man provides Copans with a tour of his grandparents’ house in Picardy, explaining that, like the expression “to put under glass” something that is cherished, he was inspired to convert the modest, turn of the (nineteenth) century home into a museum as a means […]





