A few years ago, I was on the periphery of a group of critics who made much of its love for the work of Tony Scott. After he died, the revaluation of his films became a noble pursuit, a form of tribute to a man we thought would be working for at least another decade but who had vanished one day without warning. An extensive series of articles, each of which exuded a sincere love of Tony’s wild, plastic cinema, were published here on the Notebook. I haven’t revisited many of Scott’s films since then; my priorities have shifted, and I look elsewhere for inspiration. Still, part of the appeal of somebody like Tony Scott—who, we maintained, was a bad-taste artist hiding in plain sight—was that you would, in the course of spending the holidays at your parents’ house, say, catch a glimpse of his movies on television.
- 1/17/2018
- MUBI
I Via Curiel 8 (Magda Guidi & Mara Cerri, 2011)If someone asked me to make a list of the most interesting recent Italian productions made in the 2010s, there is no doubt that some of these titles would come from the field of independent animation. If I had to explain this choice, I would simply answer that there is nothing surprising in it. We may not have a new Bruno Bozzetto yet—a pioneer of the modern animation cinema in Italy, author of a milestone such as Allegro non troppo (1976)—but there is plenty of evidence to indicate not only a high overall level of aesthetic beauty but also a rigorous quality in most of these films. They also generally bypass the distinction between rearguard and avant-garde by demonstrating that tradition does not necessarily mean lack of innovation. These thoughts came to mind while I was at the latest edition of...
- 12/5/2016
- MUBI
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