Film vs. Death: One More Time With Feeling (revisited)

A testament to the inexplicability of mourning, and the therapeutic nature of art. In this case, the art of the moving image, the most conjuring art of all. The camera becomes a dignified way to navigate the grieving process, to share it. There is a great generosity in One More Time With Feeling. This is film as communion, echo of a longing, an evocation of love in that eternal painfully human quest to transcend death.

Maria By Callas

It was the humanity of the delivery of divinity that was the key to Callas’s impact – and the way she knew, by some uncanny ability, just how to channel an archetype. Seeing her in Pasolini’s Medea, even just for a few screen seconds, shook my soul, if not my world.

Sharp Objects, and the Initiation of the Screen She-Shaman

Camille emerged fully formed, a she-shaman forged in the era of the return of the witch, expanding the liminal space between traumatic events, taking the silver bullet of all audience assumptions and projections in a tale of female rage – of women hurting other women – all those dark vagina dentata materials blooming a venemous crimson red in the patriarchal dollhouse.

Oscars 2018: Eating cake

What I reckon the aftermath of Oscars 2018 will be is what I see every day – the sheer hypocrisy of an industry built on appearances will soak in all the good intentions, appropriate the sentiments, and pretty much do the same thing as always – profit, pander and exclude.  But it will have a dent in its side, a vulnerability in its veneer – a slightly less relaxed attitude about being called out for what it does every day. Precisely.  

The Festival Of Fences

Social exclusion has many faces, the most obvious ones are the ones least discussed. For example, why is the audience cordoned off so that the performers and informers can pass by? Are they to serve the public, or to rule it? If they say they are inviting you in, walk in. See what happens.