Kaasav: Turtle

May 19, 2021 — A confession: before I made my first trip, a few years ago, to the imagineNATIVE Film + Media Arts Festival in Toronto, I had seen precious little Indigenous cinema. The average cinephile in the West watches predominantly films made by...

May 19, 2021 — For the last twenty years—until the pandemic broke my streak—I drove each fall to spend a week at the Toronto International Film Festival (TIFF). Before making the trip, I took care to avoid reading anything about the subjects, characters, or...

Apr 9, 2021 — Uncovering “The Naked City,” Bruce Goldstein’s scintillating chronicle of The Naked City’s groundbreaking New York location shoot, is more than the best “where-they-filmed-it” doc ever made. As Goldstein wittily traces director Jules Dassin’s Gotham roots and influences, this twenty-three-minute documentary—now...

Apr 2, 2021 — This week people are writing and talking about Eric Rohmer, Michael Mann, Adam Curtis, the new Jump Cut, and the king of the “geezer teasers.”

Oct 24, 2019 — With deafening footfalls and an earsplitting roar, Gojira, known in the West as Godzilla, first thundered into Japan’s movie houses on November 3, 1954. Six and a half decades later, the monster presides over an international entertainment franchise, having starred...

Aug 30, 2019 — In 1933, Japan withdrew from the League of Nations, after being censured for its invasion of Manchuria. Despite this, the majority of Japanese people remained avid consumers of American movies and Western fashion, which exasperated the militarists in power. A...

May 20, 2018 — A lifelong movie collector remembers the thrill of discovering the granddaddy of all monsters on Super 8.

Jan 19, 2017 — Rainer Werner Fassbinder plays a working-class gay man hoodwinked by his uppity bourgeois lover in this unsparing portrait of queer culture in 1970s West Germany.

Jul 22, 2013 — Gabriel Axel’s exquisite adaptation of Isak Dinesen’s short tale of grace through art provides spiritual and sensual sustenance.

Jan 10, 2005 — Seijun Suzuki's penultimate film for Nikkatsu is a subversively funny account of the making of a model fascist.