In Plain Sight Film

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In Plain Sight Film

In Plain Sight Film

@IPS_Pod

Substack featuring weekly film writing from an auteurist perspective. Podcasts on Spotify and Substack. Contributors: Tony G. Huang (@Tghuang) and Aret Frost.

เข้าร่วม Ekim 2022
181 กำลังติดตาม124 ผู้ติดตาม
In Plain Sight Film
In Plain Sight Film@IPS_Pod·
Here is a complete list of upcoming screenings in Canada.
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In Plain Sight Film
In Plain Sight Film@IPS_Pod·
It’s our one year anniversary here at In Plain Sight! Thank you to our subscribers and those who have given us their feedback. If you would like to help us celebrate by becoming our 100th subscriber, that option is now available to you. It’s free! inplainsightcinema.substack.com
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In Plain Sight Film
In Plain Sight Film@IPS_Pod·
THE BRIDE!, Maggie Gyllenhaal’s take on the Bride of Frankenstein story, uses the source material to riff on forms of rebellion against social norms. Ultimately the film’s portrayal of the titular bride’s defiant posturing is shallow and uninspired. inplainsightcinema.substack.com/p/the-bride
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In Plain Sight Film
In Plain Sight Film@IPS_Pod·
@BugmanMD Didn’t know he had a translation of DEVILS. I’m due for a reread on both, so I might check them out. Thanks for the intel!
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Lee Spratley
Lee Spratley@BugmanMD·
@IPS_Pod It read beautifully to me. It kind of makes me wanna try out his earlier DEVILS translation, though I’m a little Dostoevsky’d out atm lol.
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Lee Spratley
Lee Spratley@BugmanMD·
the three-part dialogue between Ivan and Smerdyakov near the end of TBK is absolutely thrilling
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In Plain Sight Film
In Plain Sight Film@IPS_Pod·
Sirat coasts on a surprisingly utopian vibe for a post-apocalyptic desert journey. But when the danger finally arrives, it feels like punitive gesture rather than a way of further developing the film’s character beats. inplainsightcinema.substack.com/p/sirat
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In Plain Sight Film
In Plain Sight Film@IPS_Pod·
And if you happen to be attending the silent film program tonight at the Egyptian, which includes EVERY-NIGHT DREAMS and APART FROM YOU, make sure to listen to our podcast episode on those films and 1931’s FLUNKY, WORK HARD! : open.spotify.com/episode/2mhTr2…
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American Cinematheque
American Cinematheque@am_cinematheque·
Just announced! 🇯🇵 Mikio Naruse 28-Film Retrospective in 35mm + Live Benshi Performance. We’re proud to partner with The Japan Foundation, Los Angeles & The Yanai Initiative for Globalizing Japanese Humanities in presenting this historic series: americancinematheque.com/series/mikio-n…
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In Plain Sight Film
In Plain Sight Film@IPS_Pod·
@BugmanMD This is from an interview from around the time of VIRGIN STRIPPED BARE BY HER BACHELORS, so who knows, maybe he’s changed his mind by now.
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In Plain Sight Film
In Plain Sight Film@IPS_Pod·
@BugmanMD I think this might be what you’re referring to. Curious to know where the later films start for him.
jawni han | 한겨울@kimchimarx

@blakethinks I love Bresson but wanted to share Hong Sangsoo’s take: “I hate L’argent and most of his later films. I like A Man Escaped and Diary of a Country Priest because of the performances. The less control Bresson had over his actors, the more interesting his films got” (paraphrased)

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Lee Spratley
Lee Spratley@BugmanMD·
I've been thinking a lot about Hong not liking Bresson.
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In Plain Sight Film
In Plain Sight Film@IPS_Pod·
Partisans of the ALOHA and DOWNSIZING wars: suit up. We’ve got another unfairly-maligned auteur vehicle to defend. For this week’s review, Aret praises ELLA MCCAY, James L. Brooks’ long-awaited (for Aret at least) follow-up to 2010’s HOW DO YOU KNOW. inplainsightcinema.substack.com/p/38-ella-mccay
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