“Fellini’s Roma” was attacked in some circles as an example of Fellini coasting on his genius. I find this point of view completely incomprehensible. Critics who would force Fellini back into traditional narrative films are missing the point; Fellini isn’t just giving us a lot of flashy scenes, he’s building a narrative that has a … Continue reading Is ‘Roma’ (2018) as Good as They Say?
The tagline for City of God is captivating for those uninitiated, but a loaded statement to reflect upon after viewing. “If you run, the beast catches you; if you stay,the beast eats you” the tag iterates how fated circumstances constructed by environment and attitude will inevitable cause demise. The chicken that darts across the streets … Continue reading Finding Your Way in the ‘City of God’
Tennessee Williams’ A Streetcar Named Desire uses Stella Kowalski’s abusive and unfulfilling relationship as a cautionary tale to portray the importance of letting go and leaving things behind. The parallels that All About My Mother produces comes to a different conclusion, the importance opting in, letting go of your insecurities and accepting your place. The whole conceit … Continue reading How a Streetcar,a Heart Transplant, and a Prostitute Reminds Me ‘All About My Mother’?
A barrage of paparazzi swarm around a starlet bombarding her with a multitude of questions. One question particularly stands out, and that is whether she considers Italian Neo-realism dead? The question seems incredibly dense in company of the other questions as well as to be directed towards a pop culture icon. The question is even … Continue reading The Pessimists Paradox: The Irony, Symbolism, and Cynicism of ‘La Dolce Vita’
When it comes to Ingmar Bergman’s 1966 film Persona I have absolutely no idea where to begin, and that’s kind of the beauty of it. For those who have not had the pleasure of sitting down to watch Persona, the film’s story revolves around Elisabeth Vogler an actress who suddenly goes mute. When doctors diagnose … Continue reading Remember the Classics: Bergman’s ‘Persona’ is Cinematic Poetics at its Finest