Very few figures in fashion have embodied the archetype of the talented and tortured artist like Yves Saint Laurent.
Yesterday evening’s nationwide PBS broadcast of Kelly Rush’s new documentary short, Emery Blagdon & His Healing Machine, served as a reminder of just what it is that distinguishes the lives and careers of the most exemplary outsider artists.
Iranian filmmaker Jafar Panahi continues to make movies. Caged in his perverse, Kafkaesque “larger prison,” Panahi faces a 20-year ban by the Iranian government on filmmaking, international travel, and interviews.
In the opening moments of the film, Flotsam Jetsam (2007) by Patty Chang and David Kelley, currently playing at the Museum of Modern Art, New York, a bridge-like structure is seen in the distance, partially traversing what seems to be a wide river.
Beginning life as an installment in a European television series on modern dance, One Day Pina Asked… (1983) is the best cinematic reflection on the late, great modern dance choreographer Pina Bausch.
Al Carbee was an old man who liked dolls.
In terms of understanding the very nature of our world, it’s hard to overestimate the significance of the Large Hadron Collider, and a new documentary makes a very convincing case.
Let’s look past the globules, barnacles, and goo. At its heart, Matthew Barney’s River of Fundament is a film about white, male America’s failure to comprehend urbanism.
Koyanisqaatsi, a debut collaboration between filmmaker Godfrey Reggio and composer Philip Glass, broke ground in so many ways in the 1980’s for exploring film as a poetic, rather than narrative or theatrical expression. Over ten years later, Reggio and Glass have come together to produce Visitors, another moving poem, at once visual and musical, without words or a clear narrative.
Between the bellows and the bed unfolds the universe of Cousin Jules. It is a small world, but polyvalent. He is Jules Guitteaux, a blacksmith in rural Burgundy, husband then widower, and — crucially — cousin of the late filmmaker Dominique Benicheti, whose 1973 documentary film Cousin Jules pays celluloid homage to his existence.
Once more into the rabbit hole breach, The Pervert’s Guide to Ideology tails Slavoj Žižek on another meta-tour of the popular cultural sub-terrain.
Set sometime in the ’80s, mumblecore maven Andrew Bujalski’s fourth feature, Computer Chess, is an adventurous and peculiar period piece. Chronicling a tournament of computers competing in chess and the programmers who code them, the film endearingly evokes the nascent and heady era before smart phones, laptops, and the internet.