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The 40-year-old version and Dick Johnson are dead both debuted on the streaming service, and it’s amazing.
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Alissa Wilkinson covers film and culture. Alissa is a member of the New York Film Critics Circle and the National Society of Film Critics.
Definitive proof that we’re not living in the darkest of times: Two of the best movies I’ve seen all year are new on Netflix.
, both of which premiered at the Sundance Film Festival back in January, share a few things in common. Both are directed by women. Both are visually stunning. Although one is technically a documentary and the other is technically fiction, both are so personal in the lives of their directors – yet so imaginative in the way they tell their stories – that you’d be forgiven for mixing that up.
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Both films were also fortunate enough to be picked up for distribution by Netflix. In a year when traditional movie studios — the kind that prioritize theatrical release — are in dire straits, Netflix is poised to take over. This is when the streaming service shines. She has been training for this moment all her life. The movie Netflix has already planned to release this fall, before anyone even thought to pronounce “quar”, will benefit from the unusual fall of movies, with blockbusters postponed and many theaters still closed .
Netflix kicked off its fall season a few weeks ago with Charlie Kaufman’s I’m Thinking of Ending Things — stellar, but not exactly groundbreaking — and the southern gothic drama.
, which was kind of dud. Yet his next picture is promising, and I wouldn’t be surprised if he ends 2020 with several movies that make waves at the Oscars.
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Radha Blank knows what she is talking about. The playwright’s intimate familiarity with the world of high-class theater — very plain, very masculine, very, uh, naive — comes naturally. She spoke freely about the trials that come with being a black dramatist, and her work does not fit the producers’ “preferred mold” who do not want to write about slavery or make “poverty porn.”
, which several times made me laugh harder than I have at a movie in a long time. (My favorite joke comes early on, when two older white women are genuinely interested in investing in the “multiracial revitalization of
Blank wrote and directed the film, in which she also stars as a troubled drama and Harlem high school teacher named Radha, who is turning 40. She has been the bread and butter of theater town for a while, earning a spot in the “30 under 30” list, but that was a minute ago, and now she feels stuck. She loves the play she wrote about a couple living in Harlem, but to get it into production she has to change it to fit the ideas. the famous white producer about what the play will be – and her anger leads to (literally) the breaking point that seems to destroy her future hope of getting on the stage again. Bereft, but she is happy. , has a cult: She’s going to try to be a hip-hop star instead.
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Black and white, which brings to mind classic films about New York by directors like Spike Lee (and, of course, Woody Allen). But she also uses several techniques – such as inserting small scenes with street-style interviews with her neighbors in the main flow of the story – that seem to have come from other leading filmmakers, such as Cheryl World. (In Dunye’s 1996 indie The Watermelon Woman, Dunye herself plays the character, a young Philadelphia filmmaker named Cheryl who struggles to make a career and understand her future; the comparison is sure.)
It’s sharp, satirical, and sharp as rap, and it hits every beat perfectly. No wonder Blank took home the live award at Sundance; This movie is an amazing movie that came out. I loved it, and I can’t wait to see what Blank does next.
Often a daily occurrence. Times have changed a bit, but it’s a credit to Kirsten Johnson’s extraordinary documentary (if I had to categorize it) that it feels even more poignant now than it did then.
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Johnson, who broke into non-fiction in 2016 with her stunning film Cameraperson, began filming with her father – the titular Dick Johnson – after he was diagnosed with dementia. Having already lost her mother to the same disease, she is now faced with watching her father live in the same condition, and the only way she can think of to endure it is to work with him to imagine what he will be like. his death and his afterlife. They decided to “recreate” the different ways he could die, and in the midst of it, they are thinking about the meaning of life.
Johnson’s father is religious and she is not, which may make their views on death and the afterlife very different. But inside
, the conflict is not central. Instead, the film is wonderful and delightful; sometimes it plays like another comedy. Their deep connection and enduring love is evident in every scene, and imagining the possibilities together gives them a way to imagine the unspeakable, to live in the inevitable, and to transcend into the future. they have not surrendered yet.
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It’s been hard for me to think about this movie without cringing and smiling for the past year, and for the first time it’s an event worth celebrating, at least in my world. Americans are really bad at dealing with death and dying. If you’ve ever questioned that fact, the year 2020 – and we’ve mostly, as a country, refused to process death or do what’s needed to avoid it – leaves no room for doubt.
It is an act of grace. It is a metaphor for facing the inevitable head-on and maybe, just maybe, finding a way to smile and cry and embrace what we really are: connected to our bodies and minds, which in the end separated, but also connected to one. another one.
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