Hegel claimed that art can no longer compete with philosophy. But can film take us to places not available in theory?
From Issue No.7
by Kyle Smith
The Iranian director Abbas Kiarostami has repeatedly said he enjoys it when audiences fall asleep during his films. This might explain his relative anonymity in America. After all, we’ve been told to go to movie theaters for escapism, thrills, adventures, stories. We’re conditioned to laugh and empathize and get angry and get duped and get inspired. This is why “going to the movies” often works us up and wears us out—even if we’re all sitting silently in a dark room.
by Patryk Chlastawa
Lynch’s career as a filmmaker is unique. He is one of the few directors dominantly in- fluenced by inner processes and unconscious insights. When asked about his approach in his latest project, Inland Empire, Lynch said, “It’s a risk, but I have this feeling that because all things are unified, this idea over here in that room will somehow relate to that idea over there in the pink room.”
by Sarah Miller Davenport
I watched most of the John Hughes oeuvre perched on the edge of my parents’ bed, VCR remote in hand, hoping I wouldn’t be interrupted during a kissing scene or the occasional profanity. I was too young to truly relate to movies about teenagers; I went to high school in the Nineties— Nirvana and Bikini Kill were my soundtrack, not Orchestral Manoeuvres in the Dark. But I was enraptured, watching them with the intensity of a novice in a language immersion course. John Hughes’s movies initiated me into the phenomenon that is high school in America, with all its awkwardness, pain and sporadic thrill. It was a future that, somewhat perversely, I couldn’t wait for. I almost looked forward to the pain—because, ultimately, adolescent suffering is rewarded in a John Hughes movie.
by Jon Baskin
The director of four films beginning with Badlands in 1973, Terrence Malick studied philosophy with Stanley Cavell at Harvard before abandoning a doctorate on Heidegger, Kierkegaard and Wittgenstein. A promising journalist and academic—as well as…
by Tim Robey
The best word I’ve come across to describe David Cronenberg’s filmmaking style is “disembodied.” It was voiced as a criticism, but I think he’d own up to it. Whatever squelchy or peculiar or downright…