Tag: Art and Film

Screens

Cinema 2024: A tight dozen

Contributed by Jonathan Stevenson / For better or worse, directly or inferentially, movies reflect the zeitgeist. This year, they predominantly resonated dread or resignation, and even those focused on personal endeavor had a political tinge. With humanity’s and especially America’s scabrous underbelly fully exposed, both idealism and irony seem to be taking a break, leaving something in between that doesn’t quite amount to earnestness. It’s not the nineties or even the seventies, though the occasional and fleeting nostalgic nod to better days lightened things up. Here’s one (alphabetical) list of the year’s notable movies, with the usual acknowledgement of idiosyncrasy and incompleteness.

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Certain women, 2024

Contributed by Jonathan Stevenson / Eight years ago, Kelly Reichardt’s exquisitely penetrating Certain Women appeared. A singularly nuanced and resolutely independent filmmaker, she patrols the interstices of American history and contemporary society. In this movie, she presented several game female Montanans who couldn’t afford to have feminism on their minds and nonetheless lived reckonable lives – a perspective that she had established sharply in Wendy and Lucy (2008) and reiterated softly in Showing Up (2022). Judging by several recent independent films, Reichardt’s subtle perspective has had lasting influence in framing the quandary of how women establish agency in a society that still – or at least again – often militates against them.  

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Mark Fingerhut and the sneaky internet

Contributed by Jonathan Stevenson / Burgeoning technological innovation over generations has brought out the millennial optimist in many, but, especially outside the bubble of the tendentious capitalists eager to cash in on their investments, it may have unloosed the Luddite paranoiac in more. “Goings On,” a pastiche of Mark Fingerhut’s cheerfully invasive videos deftly curated by Lonesome Dove and recently screened at Springs Projects in Dumbo, speaks to both – the one in knowing condescension, the other in sardonic affirmation. Blasts of images that rankle sometimes owing to their content, sometimes because of their staccato presentation and creepily fluid mutability, make a case for the digital matrix’s weird agency and, beyond that, its insidious seductiveness.

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Art and Film: Men of wealth and taste

Contributed by Jonathan Stevenson / Charles Willeford — Guthrie-esque hobo, World War II hero, pulp-fiction genius — was one of the best crime writers of his generation, influential yet under-appreciated. Among his many books, Cockfighter became a cult-classic film starring Warren Oates, Miami Blues a quirky eighties jaunt with Alec Baldwin, Jennifer Jason Leigh, and Fred Ward. His slender memoir, I Was Looking for a Street, wistfully encapsulated both the promise and the strange loneliness of mid-century America, much as Raymond Chandler and Ross Macdonald did in their detective fiction. The Pick-Up was a brutal, uniquely incisive parable about race in America. Thirty-two years after his death and almost 50 years after its initial publication, The Burnt Orange Heresy — arguably his best novel — has made it to the screen, courtesy of director Giuseppe Capotondi and screenwriter Scott Smith, who prove its timelessness.

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