Gideon Leek rewatches King Vidor’s classic, in which a young man with big dreams moves to New York City and becomes an identical cog who learns to love the machine of modernity.
The Man and The Crowd (1928) Photography, Film, and Fate
Sara Gómez: Her Contribution
“We are alone facing our historical consciousness — that makes us fully responsible, and so the reason for alienation has disappeared. Our work is creative, we live to create — to create something that will exist beyond time, beyond any possible existential anguish, like art. Is that clear?” Thoughts on the work of Cuban filmmaker Sara Gómez.
She Packs a Punch: Unmasking a Feminist History of Luchadora Moviess
“She underscores their relevance as social, cultural, and economic barometers for a changing Mexico, countering the historical amnesia that surrounded this vibrant cinematic heritage.”
Dorothy Arzner and Jill Craigie’s Working Girls
Perhaps in another universe “Cynthia, Dorothy, and Jane are marching side-by-side somewhere, dressed chicly, placards raised, fighting for the freedom to do their work.”
Rossellini’s War Trilogy
Rossellni never looks away. He never flinches. But he never misses an opportunity to celebrate what’s good in humanity either.
He Who Strikes First, Hits Twice: The Urgent Cinema of Santiago Álvarez
“Álvarez’s work … was a shining example of a poverty row aesthetic forged from necessity. His films were … an example of “urgent cinema”, keyed to raising public consciousness about current issues such as racism, housing conditions and police brutality in various parts of the world.”
Bang Bang: Saute ma ville
A wonderful essay on Chantal Ackerman’s first film Saute ma ville by film critic Adrian Martin.
Portrait of a Woman Lost: Barbara Loden’s Wanda
Penny Folger examines Barbara Loden’s sad and beautiful film Wanda, an often-overlooked landmark in American cinema.
magpiesmagazine.com 