Existential Horror in the Wild West: I will follow Quentin Tarantino’s lead, and like this movie, The Hateful Eight, I will allow this review to be indulgently long. And like Tarantino, I will break it into chapters, using titled headers.
Helen Highly Feels Compelled to Comment: Takes one to know one! Ron Simon is Senior Curator for Television for Paley Center for Media, and as a devoted archivist and historian (and possible obsessive hoarder), he surely sees a kindred spirit in Marion Stokes. His ability to understand the extraordinary historical significance of what Marion created speaks to his expert insight. His admiration of her speaks perhaps to something else, more personal. I find it interesting and odd that Ron sees a romantic love story behind the film’s pained narration by Marion’s long-suffering son Michael and her husband John’s reported fear of Marion learning of any interaction he had with his deserted daughter from a previous marriage.
Tribeca Film Festival 2019 presents a wide diversity of films, including screenings of branded entertainment. Branded programming is sponsored by a corporate marketing strategy, trying to connect with an audience in a richer way about the brand. On Friday, April 26, Tribeca X explored the intersection of entertainment and advertising. We had the chance to view one of the intriguing Episodic Finalists, History of Memory (Short Documentary), sponsored by The Garage at HP, and talk with the directors Sarah Klein and Tom Mason.
It’s Spring in New York and that means one thing to cinephiles: Tribeca Film Festival. I will offer a select list of films that fall into a category defined by my own tangled and perhaps questionable perspective: Archival Movies. This seems to be an unofficial theme this year – films that begin and end with images of VCR tapes or microfilm, drawers full of old photographs or scrapbooks of newspaper clippings, etc. Archival materials are typical components of well-researched documentaries (and TFF is always wonderfully rich with documentaries), but this year the focus seems to be as much about the archival material itself as it is the subject of that material.
Last night everyone was indulging in the power manipulations of Game of Thrones, for the 8th season premiere. But the show now articulates its power struggles more as spectacle than crafted dialogue. Yes, Westeros has dragons, but Shakespeare has yet to make an appearance in their universe. The truly shocking words of domination last night came not from the Targaryens but from the return of Walter White, Omar of The Wire, and Batman, just an hour later on another HBO show, Last Week Tonight with John Oliver.
It happened again: Entirely randomly and coincidentally, I saw two different narrative presentations (this time a film and a live play) just days apart, and despite their having no real connection, they merged in my brain to produce one review. The various parallels in the two films, including matching themes and potential relevance to right-now America, were difficult to ignore and not compare, so I did – compare and contrast.