A Certain Slant of Light: The Thin Line Between Fantasy and Reality in Soleil Ô
|Courtney Kowalke| The first movie I saw at Trylon in the spring of 2019 was John Sayles’ The Brother From Another Planet (1984). The film follows a protagonist known only as “The Brother” (Joe Morton), an extraterrestrial who crash-lands in Harlem, New York City...
Paying Attention to Man Ray: Some Reflections on What Experimental Cinema Can Do For Us Right Now
|Sophie Durbin| As a child, it would’ve been hard to fathom that going to the movies would one day be as esoteric as spending a night at the opera. But some time in the past five years, I realized that spending much of my free time on film had suddenly cast me as an eccentric clinger-on to...
I Don’t Belong to You: Autobiography in Anna May Wong’s Pavement Butterfly
|Ben Jarman| In 1928, Anna May Wong said “No!” to Hollywood. Before leaving Tinseltown, she made an unmistakable name for herself, taking on supporting roles that would often overshadow the lead actors and actresses. With that fame, Wong received constant attention from the...
Hertzfeldt to Miyazaki to Life: How Negative Space in Animation Gave Me the Time to Live
|Zach Staads| I first saw Don Hertzfeldt's Everything Will Be OK in my friend's living room, a cavernous Victorian echo chamber carved from oak and smothered in pink-beige plaster, where we watched on a chunky, green Dell laptop from 2006. Those 17 minutes changed my life.
Don Hertzfeldt Has Something to, um, Tell You
|J.R Jones| Don Hertzfeldt’s characters have always struggled for words. In the opening scene of his hourlong animation It’s Such a Beautiful Day (2012), the everyman protagonist, Bill, recognizes someone walking toward him on the street and prepares a greeting. But when they pass...
Burned—Anna May Wong and Shanghai Express
|Matthew Christensen| As a kid, we used to play a game called “Statue Maker.” The statue maker would swing two or three kids about; they had to hold the pose they landed in and come up with some character to portray. Other children would play customers, guided about by the statue...
Obayashi the Dramatist: Beijing Watermelon (1989)
|Natalie Marlin| In the dawning hours of the morning, a grocer (Bengal) wakes to the still-blue fading night. The framing is methodical, delicate, but not at all static. The grocer Haruzo’s body stirs from bed, but the camera lingers on his wife Michi (Masako Motai) stirring and rolling...
Everyone Knows What to do with a Watermelon
|Nicole Rojas-Oltmanns| Unlike coconuts, mangoes, apples, cherimoyas, plantains, and pineapples, everyone knows what to do with a watermelon. Cut and enjoy. They grow in the vast majority of the world from Sweden to Japan, USA to Chile, China to Israel. Perhaps, because of this, watermelons ...
HAUSU: EVILER DEADER—Why Hausu’s Creation is Cinema’s Victory
|Phil Kolas| A teenager’s disembodied floating head leaps out of a well and bites another teenager directly on her buttocks, with the camera holding for at least three full seconds on the whole framed image, like it was appreciating a work of art...
Interview: A Grandmother on The Evil Dead
|Benjamin Jarman| My mom doesn’t like horror movies much, but she is open-minded enough to sit down and watch Sam Raimi’s The Evil Dead with her son. I wasn’t expecting her to become the newest fan of the franchise, but I was interested in what could keep someone from thinking positively about the horror genre. One of the clearest memories...
Hey Bud, Let’s Make a Movie! — The Evil Dead as the Demonic Incarnation of the DIY Filmmaking Spirit
|Andrew Neill| When I was 22, I wanted to be Samuel Marshall Raimi. You probably know him as Sam Raimi, director of The Evil Dead. I was a young, eager kid just out of film school, and he was my hero. His story seemed so close to my own, so attainable. In the fall of 1979, he and his buds Rob Tapert and Bruce Campbell wrangled up a small cast and a skeleton crew, descended upon...
Confession of an American Moviegoer
|MH Rowe| In the pantheon of suspected or perhaps nonexistent genres of film, one of my favorites is the foreign film that has the copy-pasted soul of a Hollywood blockbuster but feels strangely fresh and new. Such films relieve me of the burden of familiar movie stars. They relieve me temporarily of the peculiarities...
Neorealism Under Martial Law in Lino Brocka’s Manila in the Claws of Light
|Andrea Buiser| Lino Brocka was born in the province of Sorsogon in 1939, in what was then an unincorporated territory and commonwealth of the United States that existed from 1935 to 1946. Growing up in a setting that shaped his understanding of social inequality, Brocka’s early life...
Tragic, Gothic, and Domestic: Classical Horror in Kim Jee-woon’s A Tale of Two Sisters
|Chris Polley| For many who have endured a ninth grade and/or AP literature class, Shakespeare brings to mind big emotions and melodramatic ideas: forbidden romance, corrupt monarchs, or mistaken identity. An underrated aspect of a good chunk of his work, however, is its exploration of the horrors of the great beyond...
Gender Bias and the Horror Film That Was Eaten by Disney: Zach Cregger’s Barbarian
|Penny Folger| “Your movie is like the Jaws of Airbnbs,” jokes Korey Coleman, host of the Double Toasted podcast to writer/ director Zach Cregger for whom Barbarian, in 2022, was his solo feature debut. For those who don’t remember the cultural impact of that record-breaking 1975...
Trailers from Heaven: How Barbarian’s Advance Publicity Made a Good Film Better
|Jay Ditzer| Half the fun (well, maybe a quarter of the fun) of going to the movies is the trailers shown before the main event. Do I want to see—or avoid—a new release? Well-made trailers are almost like tiny little movies themselves, and indeed, there’s an art to making a good trailer. The first rule of good trailers is ...
Diabolical Vilification & the Transformative Power of Xenophobia in The Wailing (곡성군): An Outsider’s Perspective
|Chris Ryba-Tures| When my parents first met, my dad was a Jesuit priest and my mom was studying to be a Catholic nun. While I may have started life as a “Child of the Cloth” I’ve since become an outsider to the Catholic Church. Still, I’m Culturally Catholic (which my wife insists is “not a thing”). ...
The Terror of Timelessness: Screens and Screams in David Robert Mitchell’s It Follows
|Chris Polley| I was lucky enough to see David Robert Mitchell’s It Follows in the theater when it was originally released a little under 10 years ago today. At a movie theater that no longer exists, playing hooky from work after lunch but before daycare closed, I was already a bit anxious, being a goody two-shoes...
The Searchers: Beautiful to Look at, Tough to Stomach
|Brogan Earney| There’s a lot to admire about The Searchers; the beautiful landscapes, the exhilarating action scenes, the complex characters. It’s all enough to have this film continuously mentioned as one of the greatest ever made, as it should be. The first time I saw the film was just...
It Follows Reimagines Old Rules for Sex and Scares
|Allison Vincent| Like so many, when I first saw It Follows, I found it smart, scary, fresh, dreadful, and fascinating. Part of what initially grabbed my attention was the oft-discussed dream logic of the film. Watching it feels like the same relentless, hyper-focused dreams...
Playing the Fool
|Doug Carmody| Bong Joon-ho’s The Host opens to scenes of tension and tragedy. First, in a politically overt sequence, an American doctor forces a Korean doctor to dump formaldehyde...
The Rose That Lives its Little Hour: The Woman Behind the True Story of The Train
|Courtney Kowalke| We, the makers of this film, wish to pay tribute to those French railway men, living and dead, whose magnificent spirit and whose courage inspired this story. So opens John Frankenheimer’s nail-biter action film The Train (1964). Viewers don’t have to...
Generals and Majors Everywhere
|J.R. Jones| Last spring the New Republic published a theme issue titled “American Fascism: What It Would Look Like,” with a cover image of Der Donald staring bullets at the reader in closely-cropped hair and a Fuhrer mustache. Eight different stories examine how a second Trump presidency...
Seconds: Be Careful What You Wish For
|Bob Aulert| In 1966, Rock Hudson had been a movie star since the early 1950s—by his mere presence, he could generate the financial support to get a movie made AND then get people to buy tickets to see it. John Frankenheimer had parlayed solid network TV jobs like Playhouse 90...