Perhaps my skepticism about holding movies like Selma, The Imitation Game, and The Theory of Everythingto rigorous standards of veracity has to do with the fact that I grew up during an era in which “historical” films routinely departed so far—and often so comically—from reality.
After nearly eight months in detention, Chinese human rights lawyer Pu Zhiqiang has been informed that formal charges are now being considered against him. The crime? “Picking fights and causing trouble” on his microblog. It may seem odd to detain someone first and then go look for the reasons for the detention, but this is a well-established pattern.
When an author renounces some easy twist, some expected payoff, to take us into territory we didn’t expect but that nevertheless fits with the drift of the story, then the novel gains force and conviction. And when he or she does it again, telling quite a different story that is nevertheless driven by the same urgent tensions, then we are likely moving into the zone of authenticity.
I think you Americans, your political agenda has become taken over by these differences between the Republicans and the Democrats. Every day, you fight about issues like taxation or abortion. But perhaps you have forgotten that the things the Republicans and Democrats share are much larger than what separates them.
In the reimagined Middle Ages of Alexei German’s Hard to Be a God, spears threaten bare buttocks, corpses are looted, mocked, kicked aside, faces are smeared with unidentifiable muck, the rain pours down. I don’t think any film has ever depicted a world so awful with such conviction.
Though it has received scant attention since its opening in Paris last fall, Renzo Piano’s discreetly restrained Fondation Jérôme Seydoux-Pathé ranks among his best works. With its voluptuously swelling aluminum-and-glass-clad form, it is an ingenious demonstration of how to insert a work of avant-garde architecture into a historic setting.
In Birdman Alejandro González Iñárritu has taken his cinematic nightmare to the Great White Way, illuminated it with Broadway footlights, located the pathos—and the hilarity—in the New York stage, and given us a cast of nuanced and beautifully acted minor characters.
In an afterword to his recent book Walking, Thomas Struth writes that he took the photographs “by rubbing my shoulders and my senses against ordinary, everyday architecture again.” This seems to acknowledge the project’s departure from the monumental rhetoric of his current show at the Metropolitan Museum, where twenty-five photographs are assembled in a kind of “greatest hits” homage.
Mark Strand, who died in November at the age of eighty after a long battle with cancer, is the first among my oldest friends to go. Having known him for forty-six years, I’ve come to realize since he passed away what a huge presence he was in my life and still continues to be.
We were all there because we were free, or because we wanted to be as free as possible, because we wanted to laugh and face off over everything, about everything, a small Homeric band feasting on red meat, and that is exactly what the men in black, those sinister ninjas, were out to kill.