“In NATCHEZ, Herbert observes how an American city that profits off its antebellum history grapples with its legacy of slavery….” 📽️ 🇺🇸 🎞️ #film #cinema #movies #documentaries #CineMastodon #AmericanSouth #Mississippi #SuzannahHerbert #WomenFilmmakers
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…keep your eye on the screen…
Cineaste Magazine (@cineastemagazine.bsky.social)
"Unlike many classic noirs and gangster films of the studio era, Fritz Lang’s 1953 masterpiece The Big Heat treats women both seriously and sympathetically." David Sterritt reviews for our winter issue: https://www.cineaste.com/winter2025/the-big-heat
David Hudson (@dwhdaily.bsky.social)
Had a great time talking with @nicolasrapold.bsky.social here at the #Berlinale about Alain Gomis’s DAO, Juan Pablo Sallato’s THE RED HANGAR, and Karim Aïnouz’s ROSEBUSH PRUNING on The Last Thing I Saw — https://podcasts.apple.com/us/podcast/ep-377-berlin-2026-david-hudson-on-rosebush-pruning/id1512801510?i=1000749761509
@tnyfrontrow.bsky.social
One of the great last films, An Autumn Afternoon—a ferocious repudiation of conformism and decorum, in private and civic realms—should dispel any misguided notion of Ozu as a gentle observer of delicate feelings; at @moma.bsky.social at 7: https://www.newyorker.com/culture/richard-brody/dvd-of-the-week-an-autumn-afternoon
@tnyfrontrow.bsky.social
Oscar nominations plus: my friends and colleagues @justincchang.bsky.social and @michaelschulman.bsky.social and I discuss them here, in the @newyorker.com Daily newsletter, with our editor Erin Neil keeping the peace: https://link.newyorker.com/view/5bea068324c17c6adf11517fq0g13.mc3z/f95bf1b8'
David Hudson (@dwhdaily.bsky.social)
“The art world, with all its progressive scaffolding and humanist ornamentation, practically designed to celebrate and aestheticize every rebellion, couldn’t metabolize Palestine. It still can’t.” David Velasco @equatormag.bsky.social — https://www.equator.org/articles/how-gaza-broke-the-art-world
@tnyfrontrow.bsky.social
On the anniversary of Éric Rohmer's passing, in 2010, it's worth recalling his greatness and his distinctiveness; a Rohmer film is a genre, but—despite his many emulators—it's a genre with only one practitioner, because of the extraordinary life that formed it: https://www.newyorker.com/culture/richard-brody/eric-rohmers-elusive-life-revealed-in-a-new-biography
