Tag: Art

Week in Review: April 2nd – April 8th, 2018

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Three Sisters – Wang Bing’s beautiful and heartbreaking documentary from 2012 traces a year in the lives of three sisters in an unconnected and undeveloped village in rural Yunnan Province. The three sisters, ages 4 through 10, are left to fend for themselves while their father works in the distant city of Kunming; the mother has abandoned the family. Yang Yang, the eldest, becomes the work horse and pseudo-mother to the younglings, performing all of the rigorous farm and house work in addition to attending grade school. The key sequence is late in the film, when the father takes the younger two children to the city, relieving Yang Yang of her responsibility, but leaving her completely alone as a consequence. It’s an overwhelming portrait of poverty, isolation and resilience. Often relying on a crew of himself, Wang captures it all with a hand-held, low-grade video recorder for a cinéma-vérité style. As a viewer, you almost never forget that Wang is in the scene filming and yet he rarely loses the fly on the wall invisibility that allows life to unravel in its natural rhythms.

British Sounds – Another Godard directed Dziga Vertov Group political film, this one set in Great Britain in the late ‘60’s. It’s divided into roughly 5-10 minute segments each with entirely different visual stratagems. The first and best sequence features one long continuous pan through a Renault automobile assembly line, Marxist commentary included. Another one features a newscaster reading over-the-top, politically incorrect right-wing political commentary. This segment is remarkable in how it resembles actually politically incorrect talking points featured any given day on Fox News. Godard’s satire is now just real life. A less positive sequence features a long take of a naked woman from the waist down, the voice over describing the need for female agency and empowerment in society. This didn’t offend me per se, in fact, it is quite powerful, but I would have been more comfortable with this scene coming from a female director.

Freer Gallery of Art – This took three attempts, but I finally made it through the entirety of the newly renovated permanent collection of the Freer Gallery of Art. Though the building isn’t particularly large, like any good museum, it rewards patience and careful consideration. It features ceramics, sculpture and painting from across the Asian continent paired with some American work for contrast. The Chinese and Japanese Art collections were my favorites, especially the Chinese jade Bi from the Liangzhu culture and the various Japanese wabi-sabi vessels. The former are particularly mysterious because historians are unsure what function they played in society. Sometimes individuals would be buried with them, and others would be passed down within families for generations.

Meshes of the Afternoon – Maya Deren and Alexander Hammid’s short avant-garde debut. This was a re-watch and I was blown away by the cinematography. The turbulent identity loop Deren’s character literally climbs through sits in a continuum, building on the promise of Jean Vigo’s Zero for Conduct and Luis Buñuel’s Un Chien Andalou, anticipating the later work of Jean Cocteau and even Christopher Nolan’s Inception. Thematically, the woman in psychological peril subject matter feels as accomplished as David Lynch’s oeuvre. A reminder that we should all be paying more attention to the avant-garde. Speaking of which, where is the avant garde in film today? Surely Lynch and Malick are too mainstream now. Who else?

Queer Eye – The first episode of this reboot is just ridiculous fun. I find that intimate moments in reality TV are harder for me to buy into than in fictional or documentary film; The staging and editing room manipulations tend to be too obvious. BUT, this Fab Five are so likeable and their feel good message of self-love and empowerment is so important that it was easy to forgive the show’s flaws. I particularly enjoyed the little montages each host gets before their segments. For example, Jonathan Van Ness, the hair stylist, will be twirling his admittedly amazing hair while dancing with a huge smile for multiple quick shots. Totally infectious.

Port of Shadows – Marcel Carné’s moody, noir-ish portrait of a world at the brink of oblivion. It’s 1938, Jean (a sterling Jean Gabin) has deserted the army and hitchhiked to the port city of Le Havre, intending to escape the dark shadow looming over Europe. In the city, Jean gets entangled with the locals and falls for the charming Nelly (Michèle Morgan), giving fate enough time to wrap its tentacles around him. Nearly everything and everyone is great here, most notably Carné’s expression of masculinity through Gabin. Gabin’s Jean is running away from his duty and his country, yet Carné directs only sympathy with this choice. Moreover, throughout the film Jean stands as a moralizing force for the other male characters, literally beating them when they get out of line. This code, a personal hierarchy of masculine values, strikes me as particularly French, a precursor to the type of cool masculinity that defines the later crime noirs of Jean-Pierre Melville.

A Quiet Place – Jim from The Office directing a pretty good horror film! I would give this movie an A for concept and a B / B- for execution. John Krasinski is a competent director and, if A Quiet Place is any indication, an ambitious one. The best scene is at the halfway point when the wife, played by Emily Blunt (Krasinski’s real-life wife), must give birth in silence after stepping on a nail. Also promising is Krasinski’s aptitude for spatial management on a massive farm set. Too much of this film is directed safely, the visual puzzle pieces are a little too big to make it challenging. Worse, I found myself grasping at straws to build a coherent thematic response from its swirl of Biblical and Americana imagery. Perhaps a larger interpretation will congeal over time. In the meantime, I am eager to see what this box office success will afford Krasinski next.

The New Yorker

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In the Fall of 2012, my late Grandma Lydia and my father came to visit me in college at SMU. My Grandma brought with her several copies of a magazine called The New Yorker. I was vaguely familiar with this magazine, but had never actually held a copy before that point. On one of those afternoons, resting in their hotel room before heading out for the next activity, I eyed one she had left on the couch. Enticed by its colorful cover design, I picked it up, slumped in a chair and began to flip through it; within minutes I knew this was something I needed.

It was the September 10, 2012 Fashion issue. I really only turned the pages, reading little bits here and there, but I knew. In that issue, as in all of them, there were endless descriptions of New York City’s surplus of cultural events, trendy political commentary, personal essays by famous writers, long form journalism, long form culture articles, short fiction, poetry, cartoons and reviews of what at that time seemed like everything. My grandmother, noticing the glint in my eye, urged me to keep that issue. In the days that followed, I read that magazine from cover to cover, a rarity for anyone familiar with it. My thirst unquenched,  I then signed up for the trial subscription. And when that was finished, I became a yearly paying subscriber which has been the case for the last 5 years. In that time, I’ve received the magazine weekly, devouring and struggling to keep up with that relentless pile, often bringing my own stacks of back issues on vacations and holidays.

As of April 9th, 2018, I am no longer a subscriber. Without going into detail as to why, I instead want to use this space to reflect. The magazine was, without a doubt, one of the integral catalysts for my broader intellectual curiosity late in college. I can honestly say I wouldn’t be who I am today without it. Despite any criticisms that have led me to this decision, it is more true to say that my leaving the The New Yorker is a signifier of just how influential it has been. Perhaps I will be a subscriber again one day, and I will still be loosely following it online (within the 10 free articles a month constraint). But for now, a heartfelt goodbye and thank you to The New Yorker.

Week in Review: March 26th – April 1st, 2018

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The Constitution of the United States – I’m not sure what I was expecting, but it’s surprisingly short and simple, elegant even. The Founder’s laser focus on preventing future authoritarianism remains striking, though I’m most impressed with its inherent capacity for self-correction and evolution.

A Film Like Any Other – My first step in an effort to watch Jean-Luc Godard’s Dziga Vertov Group political films he made, along with Jean-Pierre Gorin, in the wake of the failed French student revolution of 1968. This conceptual film consists of nearly two hours of political discussions between a group of French communists sitting in a field, occasionally intercut with montages of the ‘68 uprising. There are two simultaneous audio tracks of independent debate one gets to read through, and the frame limits your vision to the backs of the comrades in the surrounding tall grass. . .only Godard. This is an excruciating sitting, recommended for Godard completionists only.

Kaili Blues – Bi Gan’s very beautiful Chinese drama from 2015. Set in a rural Chinese town, a doctor feuds with his step-brother over the raising of his nephew. The second half of the film, following the doctor on the road looking for his nephew, is punctuated by a roughly 40 minute continuous shot, the camera traveling several miles via two motorcycles, a car, a boat and then circumambulating an entire town on foot, all while following multiple characters repeatedly interacting. Its impressive stuff, though I was even more taken with the still photography throughout the film. Bi extracts a somber moodiness from the sort of detritus typified by a rural town undergoing uneven development. Wet concrete, cloudy skies, industrial materials, unfinished construction and slow motorcycle rides are expressionistic cues that build out the emotional thrust of the work. The Chinese title translates to “Roadside Picnic”, the same name as the Russian science fiction novel that would inspire Andrei Tarkovsky’s Stalker. Though the influence of Tarkovsky is notable on Bi, that potent comparison doesn’t keep this first film from feeling a bit under-baked. Perhaps a re-watch would help but I felt there was too little going on plot-wise. Still, Bi’s visual instincts appear fully formed. This is an auteur to keep an eye on.

Barry – SNL alum Bill Hader’s new HBO show. Hader stars, directs, writes, and produces here, and surprise!, he’s good. Like, really good. Hader plays a lonely assassin, former marine, who rediscovers the joys of human connection in a hack L.A. acting troupe while honing in on his next mark. Like many of the dark, anti-hero led prestige television shows from the last decade, there’s a certain perversity baked into the concept. The show requires the viewer to root both for Barry’s emotional fulfillment and his professional success (i.e. killing people). If the pilot is any indication, these two things will rarely be aligned.

Colossal – The premise is unique: a woman’s self-destructive alcoholism in upstate New York personified as a rampaging kaiju in Seoul. In execution, this movie falls apart. The ‘fight scenes’ were often unintentionally laughable and tonally awkward. Worse, the film clumsily alternates between which characters are deserving of your sympathy during any given scene. I would normally leave it here, but in the wake of Barry, I have to mention Jason Sudeikis. The contrast with the talent and ambition of Hader is stark. I don’t know if it’s the script, the direction or him, but Sudeikis is unusable in this film. Every dramatic moment involving his character feels false, a cartoonish depiction of alcoholism and personal resentment. I like him, I find him hilarious at times, but at this juncture I’m skeptical that he has the dramatic chops to do anything but broad comedies.

Translations – Brian Friel’s 1980 play about the Irish-English cultural divide set the 1830’s. During this time, the British Empire was actively employing the Royal Engineers to standardize Ireland through language and cartography. Their job was in effect to rename the entire country. The majority of the characters are Irish people speaking Gaelic but this is all performed on stage in English. Likewise, the Royal Engineers obviously speak English. Thus, very cleverly the language and cultural barriers of that time are conveyed using a common language for the audience. Fitting too, as this play was a pointed commentary on the then ongoing Troubles with its central theme around translation. The question of how to translate a random street crossing with a nearby well becomes an existential dilemma of whether one should fight to maintain a cultural heritage or assimilate into what will be the future paradigm.