Amy Taubin

  • SYNC OR SWIM

    “Believe me, we are never sad enough for the world to be better.”

    FOUR YEARS IN THE MAKING, Jean-Luc Godard’s Le livre d’image (The Image Book, 2018) could not be more of the moment. It is almost without narrative constraints—the most abstract in the series of collage films that spin off from his epic Histoire(s) du cinéma (1988–98)—and is thus as ephemeral as a dream. I saw it twice at Cannes in May, and although I still remember the intensity of the experience, the details have fled my mind. Le livre d’image is also the most melancholy of his late films, yet it is framed with an

  • film July 04, 2018

    Sorry Not Sorry

    THE TIME TO DO THE RIGHT THING is now or never. The urgency coursing through Boots Riley’s Sorry to Bother You makes it a perfect movie for the blazing summer of resistance. When Riley’s debut feature played at Sundance in January, it seemed like African American lysergic futurism. Six months later, even its most surreal moments are less prophetic than terrifyingly close to ordinary life in 2018—maybe with the exception of the human/horse gene-editing thing.

    What Riley brings to his first feature film is twenty-seven years of making music as the leader of the Oakland political hip-hop collective

  • film June 30, 2018

    Women About Town

    WHENEVER I WATCH Allan Moyle’s teen girl coming-of-age screwball comedy Times Square (1980), I remember the real-life story of Warhol superstar Edie Sedgwick and the radically queer underground filmmaker Barbara Rubin meeting in the psychiatric hospital to which, in the early 1960s, their respective families (Sedgwick’s was Boston Brahmins, Rubin’s middle-class Queens Jews) committed them for drug use. One of Warhol’s most memorable screen presences, Sedgwick died of an overdose in 1971. In 1963, at age seventeen, Rubin made Christmas on Earth—the all-time most subversive American avant-garde

  • film June 21, 2018

    Girl Power

    A TERRIFIC PREVIEW of the summer’s hot independent movies and a place to make discoveries, this year’s BAMcinemaFest is one of the best in the series’s ten-year history. The films show only once, with the directors doing a Q&A after each screening. The sold-out opening night has Boots Riley presenting his debut feature, the dark, delirious Sorry to Bother You, which at Sundance seemed like Black Futurism but six months later is more like a prophecy fulfilled—maybe not today, but probably tomorrow. The visuals are as eyeball-rattling as a comic strip; the soundtrack by Tune-Yards and Riley’s

  • ALL SHOOK UP

    FROM LATE 2015 through the end of 2016, the documentarian Eugene Jarecki drove around the United States in a 1963 silver Rolls-Royce that had belonged to Elvis Presley. Promised Land, the film that emerged from his travels, premiered at Cannes in May 2017. But over the next six months, it was reedited to become The King, its focus more sharply on the titular (by nickname) singer as a sieve through which to filter all the contradictions of America.

    Jarecki is the author of The American Way of War: Guided Missiles, Misguided Men, and a Republic in Peril (2008) and the founder of the Eisenhower

  • film May 07, 2018

    Driver’s Seat

    PERHAPS A LAST LOOK at downtown New York’s inspired and inspiring, anarchic, penniless 1970s art scene, before attention shifted to the capitalist, power-shouldered 1980s, Sara Driver’s Boom for Real: The Late Teenage Years of Jean-Michel Basquiat (2017) is an archival treasure trove. It is also an illuminating if narrowly cast portrait of the formative period in the twenty-seven-year life of an artist who absorbed and synthesized a visionary moment uptown and downtown to produce some of the most complicated and thrilling paintings of the second half of the twentieth century. Driver begins her

  • OF TWO MINDS

    THE FIRST BUT PERHAPS NOT THE LAST Steven Soderbergh movie to get a theatrical release in 2018 is Unsane, which was shot on the iPhone 7 Plus with 4K capture and, of course, a kit of add-on lenses and stabilizers, with probably half the $1.2 million budget going to image-enhancing postproduction. As a result, the movie’s initial twenty minutes look exciting—like nothing you’ve quite seen before, certainly not like Sean Baker’s jittery, neon-hued, made-with-love-and-very-few-dollars iPhone 5s Tangerine (2015). By comparison, the nearly subliminal instability, slightly heightened color, and

  • film March 09, 2018

    Accept No Substitutes

    EVEN IF YOU’VE SEEN WILLIAM KLEIN’S Muhammad Ali, the Greatest (1974) online or at a museum or festival, they are no substitutes for seeing it right now in a theater with an audience, just like you’ve seen Black Panther (2018). Take your kids, or any kids you know, to see a real-world hero. Muhammad Ali is one of the best films in “The Eyes of William Klein,” a retrospective at Quad Cinema of narrative and documentary features and shorts by the ninety-year-old photographer and filmmaker.

    In a documentary made for the BBC (not part of this series) to coincide with the filmmaker’s 2012 retrospective

  • AN ABUNDANCE OF FLOWERS

    OPENING WITH the explosion of a champagne cork that unleashes a chain reaction of casual domestic violence mixed with drunken laughter, Rainer Werner Fassbinder’s Acht Stunden sind kein Tag (Eight Hours Don’t Make a Day)—a five-episode series made in 1972 for Westdeutscher Rundfunk, the largest of Germany’s regional television broadcasters—identifies the good guys and the meanies in the first two minutes. It was Fassbinder’s first major TV work; in the previous seven years, he had made fourteen feature films as well as numerous plays that defined him as not only the most prolific but also the

  • Errol Morris’s Wormwood

    EVERY WHICH WAY, Errol Morris’s Wormwood is of the moment, and not only because it’s a crime series made for binge-watching. There’s the distrust of all government and law enforcement; the obsessive search for a secret or overlooked piece of information that could reveal the whole truth and nothing but the truth; and even the renewed focus on the Korean War and its aftermath.

    When I began watching Wormwood (the six-episode Netflix series, rather than the roughly four-hour movie version that played briefly at Metrograph in New York and at a few other theaters), I still was in the throes of what

  • film December 29, 2017

    Tailor Swift

    HOW TO DESCRIBE Paul Thomas Anderson’s magnificently daft Phantom Thread, a movie as precise as it is delirious. To borrow from Stanley Cavell, it’s a comedy of courtship, marriage, and remarriage. Comedy, however, may be too clear-cut a designation for this story about the intimate life of a couple from first attraction to a precarious arrangement of power, for which no one would write a lifetime warranty. Beyond the dazzling performances of Daniel Day-Lewis, Vicky Krieps, and Lesley Manville; the swooping and/or oddly angled luminous 35-mm cinematography by Anderson himself; and the almost

  • Amy Taubin

    1 SPOOR (Agnieszka Holland with Kasia Adamik) A primeval forest in Poland is the battleground for the no-holds-barred struggle of a woman who risks everything to protect the creatures that live there from a corrupt, death-dealing, patriarchal status quo. The greatest film by a world cinema master.

    2 QUEST (Jonathan Olshefski) A remarkably intimate portrait of the Rainey family of North Philadelphia, who welcomed Olshefski and his camera into their home over ten years with a kindness and generosity of spirit that make the documentary a unique gift to audiences.

    3 GET OUT (Jordan Peele) Racism

  • film November 25, 2017

    Sliding Doors

    WORLDS COLLIDE in Anita Thacher’s radiant Anteroom. The 1982 installation has been exactingly re-created at Microscope Gallery, using all but obsolete analog technology, specifically two slide projectors synced by a Tascam that uses audio tape to queue the slides changes. I’m beginning with the technology because the analog “imperfections” enhance the particular physicality of the piece, which not only is ravishing to the eye but also elicits an associative, elusive, and unstable sense of one’s own interiority.

    Thacher, who died in September, began her career in the early 1960s as a painter and

  • film September 14, 2017

    Music to My Ears

    THE ROSTER LIVES UP TO ITS TITLE: “The Whole World Sings: International Musicals.” I wish I could spend a week at the Quad seeing all thirteen features in the series organized by the theater’s programmers in collaboration with Village Voice critic Bilge Ebiri. Whether bittersweet, semitragic, joyous, or somewhat deranged, almost every one of these films will lift your spirits as you enter a fall season that looks to be as depressing—I’m not referring only to culture—as this summer was.

    Screening in a new digital restoration, Chantal Akerman’s 1986 Golden Eighties (aka Window Shopping) is a study

  • Jane Campion’s Top of the Lake: China Girl

    MATERNAL DESIRE surges through Jane Campion’s six-hour TV miniseries Top of the Lake (2013) and its sequel, Top of the Lake: China Girl (2017). In the original, Sydney-based detective Robin Griffin (Elisabeth Moss) reluctantly returns to the wilderness town in New Zealand where, at age fifteen, she was gang-raped and impregnated. Her mother is seriously ill, and despite their prickly relationship, Robin wants to help. But she’s soon drawn into the investigation of the statutory rape of twelve-year-old Tui (Jacqueline Joe), who takes refuge alone in the dense mountain forest surrounding the

  • film August 31, 2017

    A River Runs Through It

    STAND IN THE STREAM, the title of Stanya Kahn’s recent hour-length video, has taken on an extra layer of associations in the final two weeks of its exhibition at MoMA PS1. So has the opening image of a policeman in a heavy-duty military-like jacket and helmet standing, his back to the camera, on a beach next to some kind of motorized, perhaps amphibious vehicle. I think I’ve seen something like it on TV, ferrying stranded Texas flood victims to safety. Or maybe not.

    Kahn lifted the title from a bit of dialogue in Bertolt Brecht’s Man Equals Man (1926), an early play about the dehumanizing effect

  • film August 14, 2017

    Runs in the Family

    IN THE SAFDIE BROTHERS’ GOOD TIME, Robert Pattinson does an end run around the cops and anyone and anything that comes between him and the nowhere to which he’s headed. He’s literally on the run almost every time we see him, and when he’s not running, his adrenaline is jacked up so high it looks as if he is. As Connie Nikas, a petty criminal with a long rap sheet on a mission to save Nick (Benny Safdie), his younger and in every way slower brother, from the system, Pattinson jettisons almost everything that made him a romantic leading man—good manners, cultured diction, languorous grace, and,

  • film July 28, 2017

    Murder, She Wrote

    A LOVING SATIRE OF MATING AND MORES among Park Slope lesbians, Ingrid Jungermann’s Women Who Kill combines romantic comedy and murder mystery, and a dollop of psychodrama, and lightly stirs it into a summer movie treat. (Since crucial scenes take place in the fraught, rule-bound environment of the Greene Hill Food Co-op—actual name and location employed—a cooking metaphor is apropos.) Jungermann, the director, writer, and star of her debut feature, plays Morgan, a character so awkward and insecure that no one could regard the woman who conceived and embodied her as narcissistic or overreaching.

  • film June 21, 2017

    Magnificent Seven

    IT SEEMED LIKE OLD TIMES and yet it was, urgently, right now at the world premiere last Sunday of Jim McKay’s En el Séptimo Día (On the Seventh Day). Long one of the most promising New York independent filmmakers, McKay made his mark with two no-budget movies, Girls Town (1996) and Our Song (2000), both depictions of female Brooklyn public high-school students, most of them African American and Latino. They were anti–Beverly Hills 90210 movies—exemplary for their depiction of the liminal condition of underprivileged teenagers whose futures are uncertain no matter how ambitious and talented some

  • EVERYDAY PEOPLE: JONATHAN OLSHEFSKI’S DOCUMENTARY PORTRAIT OF AN AMERICAN FAMILY IN PHILADELPHIA

    “THE FILMMAKERS would like to thank the Rainey family for sharing their story.” The credit appears at the end of Jonathan Olshefski’s documentary Quest. It may be the only familiar note in a movie that is utterly unique in its choice of subject—a truly enviable family from America’s black underclass—and the way that subject is depicted. The words of thanks, which elsewhere would register as a pro forma courtesy, here invoke the very spirit that made the film possible: The Raineys’ ethos, politics, and practice of sharing their energy, skills, talents, and friendship inform every aspect