It has become a truism that we recover from a break-up as we might recover from drugs, and science proves it: that the level of oxytocin flooding the brain resembles the pleasure principle of a good fix. The removal of the loved one, or the drug, leaves us bodily distraught. Is there any filmmaker who has coincided with this idle scientific fact and turned it into an aesthetic ongoing first princi…
1 While paranoiac film and conspiracy cinema are often used as interchangeable terms, we might notice that some films are chiefly paranoid; others, more conspiratorial. From one perspective, The Day of the Jackal and The Parallax View have a lot in common (chiefly an assassination theme), just as Z and Illustrious Corpses do too. But if we keep in mind certain distinctions Gerard Genette makes in …
In ‘The Altar of the Dead’, Henry James might appear at his most morbid, but one way of thinking about James’s work is the attenuation of cause and effect. Here, a man goes each day to church and lights a candle to the various dead who are no longer in his life, including and most especially Mary Antrim, a woman he was due to marry. There, he sees a younger woman who is lighting …
1 He couldn’t quite understand why, when he fell off his bike, and a stranger came to help him up, asking if he was okay, he was so moved. He went back to his flat and cried for the first time in what seemed like decades. As he couldn’t stop sobbing, he initially wondered if it was a sign of a breakdown, or at least an awareness that the last three months had been harder than any he co…
Never Rarely Sometimes Always possesses ambiguities that can seem prejudicial, others, inferred. Is the boy on the bus, Jason (Theodore Pellerin), a pest? Is this figure the central character Autumn (Sidney Flanigan), and her cousin (Talia Ryder) meet on the way to New York from Pennsylvania, a sleazy guy or a helpful stranger? Could he be both? When Autumn speaks to a health worker at an abortion…