living film still


“Through contemporary eyes, the static shots and urban milieus of Black Girl seem to solidify Sembène’s filmmaking as an aesthetic neighbor to the emotionally-walloping neorealism of the Italian De Sica. Black Girl may not evoke the immediate adoration of something as universally beloved as De Sica’s Bicycle Thieves, although the latter film’s deft interweaving of personal-is-political social commentary with the rueful, everyday messiness of the lives of the marginalized working class began a storytelling tradition that is gloriously carried on by Sembène. Black Girl has all the skillful stylistic simplicity of your typical piece of neorealism but also packs a sharper bite and it’s electrifying to watch Sembène craft a twisty drama with the piano-chord tautness of a thriller that is nonetheless coated in such a rare and wryly intimate form of humanity.”



Vivre sa vie: Film en douze tableaux / My life to live, 1962.

dir. Jean-Luc Godard.

cinematography by Raoul Coutard.


“Peck’s film doesn’t waste time recapitulating Baldwin’s legacy and refuses to turn him into the marble statue that so many heroes become when centralised in fawning nonfiction movies. Instead, Peck and Strauss, through fluid, train-of-thought edits, reawaken Baldwin’s entire mindscape, one brimming with ideas and obliquely attuned to a present that is both changed from and familiar to the past. Wherever his brain wanders, our attention invariably follows. Indeed, I Am Not Your Negro excels precisely because it values Baldwin’s genius above all else. His aching, hard-earned wisdom has wavered in and out of the American consciousness in the decades since his death, but Peck’s film places it at the forefront, which is where it has always and unquestionably belonged.” — Matthew Eng

Read more: James Baldwin reclaims the spotlight in Raoul Peck’s magnificent film essay, I Am Not Your Negro

“There really isn’t any other performer quite like Kristen Wiig, the incomparable misfit who made Hollywood laugh so hard that it didn’t even realize it was breaking all its own conventions by letting someone so proudly peculiar past its studio gates. You would think that some industry gatekeepers might have kicked her out by now, but maybe they actually recognize the infinite value of her sublime versatility, even if directors, producers, and casting agents could admittedly tap into it with more frequency, centrality, and imagination. Who knows, maybe these gatekeepers knew from the very start what they were doing by letting her in. Maybe she is exactly what they—and we—have been missing all along.”

Paul Feig’s all-female Ghostbusters plays the Tribeca Drive-In this Saturday. Here’s how star Kristen Wiig became a character actress we can believe in, by Matthew Eng.



Chapter1. Alone Trailer: #DK
in the place thirteen pieces can be completed


“Sometimes beautiful things come into our lives out of nowhere. We can’t always understand them, but we have to trust in them. I know you want to question everything, but sometimes it pays to just have a little faith.”