Some apotheosis of film culture has been reached with Freddy Got Fingered‘s addition to the Criterion Channel. Three years after we interviewed Tom Green about his consummate film maudit, it’s appearing on the service’s Razzie-centered program that also includes the now-admired likes of Cruising, Heaven’s Gate, Querelle, and Ishtar; the still-due likes of Under the Cherry Moon; and the more-contested Gigli, Swept Away, and Nicolas Cage-led Wicker Man. In all cases it’s an opportunity to reconsider one of the lamest, thin-gruel entities in modern culture.
A Jane Russell retro features von Sternberg’s Macao, Gentlemen Prefer Blondes, and Raoul Walsh’s The Tall Men and The Revolt of Mamie Stover; streaming premieres will be held for Yuen Woo-ping’s Dreadnaught, Claire Simon’s Our Body, Ellie Foumbi’s Our Father, the Devil, the recently restored Sepa: Our Lord of Miracles, and The Passion of Rememberance.
A Jane Russell retro features von Sternberg’s Macao, Gentlemen Prefer Blondes, and Raoul Walsh’s The Tall Men and The Revolt of Mamie Stover; streaming premieres will be held for Yuen Woo-ping’s Dreadnaught, Claire Simon’s Our Body, Ellie Foumbi’s Our Father, the Devil, the recently restored Sepa: Our Lord of Miracles, and The Passion of Rememberance.
- 2/14/2024
- by Nick Newman
- The Film Stage
Given the aesthetics of A Question of Silence and its characters’ desire to uncover the motives of three women who suddenly attack and kill the male owner of a boutique, it’s understandable that Dave Kehr wrote that Marleen Gorris’s debut film “was built on a fashionable confusion of fascism and feminism.” But while much of A Question of Silence’s power comes from the steady, meticulous accrual of realistic microaggressions and outright misogyny that these women face on a daily basis, their violent act, as well as their lack of empathy or regret after the fact, is better read as purely symbolic rather than as the filmmaker’s tacit endorsement of their crime.
The film’s scenes are given a sense of verisimilitude by its on-location shooting in Amsterdam, and that raw authenticity brushes up against highly stylized sequences (shades of Rainer Werner Fassbinder) that are punctuated by moody bursts of synthesizers.
The film’s scenes are given a sense of verisimilitude by its on-location shooting in Amsterdam, and that raw authenticity brushes up against highly stylized sequences (shades of Rainer Werner Fassbinder) that are punctuated by moody bursts of synthesizers.
- 6/8/2023
- by Derek Smith
- Slant Magazine
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