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  • Milla

    Milla

    Dear Cinema, do you think people know? Do you think they know you’re theirs and you need them? Do you think they know how much you need their thoughts, their questions, their presence, their emotions. Do you think they remember that some films are not entertainment but letters to them. Letters that say: I care, I love you, I’m angry, I’m lost, I’m strong, I’m weak, I’m you, I’m not you but I want to know you, I’m trying to…

  • Hidden

    Hidden

    Panahi's films are increasingly only addressed to a very specific metropolitan audience, made now with a certain self-important authority never found in the work of his mentor (who he is nonetheless so eager to emulate). It is hard to regard this turn as anything other than unfortunate, given it is this very audience which is treated with great ambivalence in what remains his single great work, Offside. Since then, his work has taken on the significance of the self-conscious activist…

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  • Belly

    Belly

    The film was written two years before the release of It’s Dark and Hell is Hot and he was the last person in the film to be cast, but it’s hard to imagine a role that feels more tailored to DMX - the persona and the man, Earl Simmons - than Tommy. No one else will ever have that DMX feeling.

  • The Forgotten

    The Forgotten

    In the absence of anywhere else to write this, I'll put it here. I've been obsessed in the last three weeks with this painting of Christ and the woman of Samaria, finished sometime before 1504 by Juan de Flandes after the mathematical revolution in perspective by Masaccio and before, or slightly parallel to, the gaudiness of the High Renaissance. This painting sits somewhere between these two points, and is simpler than what was standard for either (in fact it reminds…