Nearly four decades after its initial release, Being There, Hal Ashby’s 1979 satire of American culture, feels more prescient than ever. A showcase for the subtler side of actor Peter Sellers, the film follows the misadventures of Chance, a childlike gardener who, by a series of coincidences, becomes a media darling and a confidant to a powerful Washington, D.C., businessman. For the latest installment of his series Anatomy of a Gag, filmmaker and critic David Cairns details the nuances that generate laughter in this almost gagless comedy, including the surprising juxtapositions in Ashby’s editing and musical choices, his evocations of everyone from Stanley Kubrick to Stan Laurel, and the carefully calibrated minimalism of Sellers’s performance.
Ira Sachs Finds a Model of Artistic Courage in Je tu il elle
The director of Frankie and Keep the Lights On opens up about how the emotional and sexual candor of Chantal Akerman’s feature debut has inspired his own deeply personal approach to cinema.
Harold Lloyd’s Ingenious Blend of Slapstick and Horror in The Kid Brother
In one of his most ambitious sequences, the silent-comedy legend throws his innocent “glasses” character into a death trap of a setting.
How The Qatsi Trilogy Gave RaMell Ross a New Way of Seeing
The Oscar-nominated director of Hale County This Morning, This Evening finds an expansive political vision in the mind-altering work of Godfrey Reggio.
Morgan Neville Goes Through the Looking Glass with F for Fake
The Oscar-winning documentary filmmaker unpacks the wild inventiveness of Orson Welles and the late-career masterpiece that inspired his own approach to his new movie They’ll Love Me When I’m Dead.