Cassie da Costa

  • Ryûsuke Hamaguchi, Drive My Car, 2021, 4K video, color, sound, 179 minutes. Misaki Watari and Yūsuke Kafuku (Tōko Miura and Hidetoshi Nishijima).
    film November 26, 2021

    Stage Coach

    IN THEIR EARLY DAYS, films weren’t as concerned with the realistic elaboration of action as with the various devices writers, directors, cinematographers, and production artists used to convey ideas and emotion through moving images. Theatricality—what Roland Barthes called a “sensuous artifice”—was at the basis of these movies, tasked not with recreating verité on screen but with artfully construing the psyche. Shadows and bursts of light, recurring objects, long takes, static camerawork, expressive acting, and striking (though not necessarily beautiful) faces seared images into a viewer’s

  • Salomé Jashi, Taming the Garden, 2021, DCP, color, sound, 90 minutes.
    film June 09, 2021

    Second Nature

    THE SUPERRICH WANT, and can have, luscious gardens of their own. We know the gardens of Versailles, the chateau overlooking them representative of the extreme indulgences of the aristocracy that helped bring on the French Revolution. Those famous grounds were planned by royal architects and constructed through the toil of the working poor. But where do wealthy people’s private parks come from today, in our late-capitalist aftermath? Well, generally speaking, the same place. Nature is, again, plucked from the public, or from private owners tempted by payouts (as the middle class disappears,

  • Claire Denis, Beau Travail, 1999, 35 mm transferred to 4K video, color, sound, 93 minutes. Galoup (Denis Lavant) and Bruno Forestier (Michel Subor).

    Cassie da Costa

    Cassie da Costa is a staff writer for Vanity Fair and a commissioning editor for the queer and feminist film journal Another Gaze.


    SHAKEDOWN (Leilah Weinraub)

    Finally available to stream (on after years of distribution roadblocks due to the documentary’s nudity, Weinraub’s film develops a new theory of entertainment and economics in its portrait of the eponymous Los Angeles lesbian strip club.



    It’s not really a title you can satisfyingly translate to English, and the film feels like that too. Janus’s restoration, supervised by cinematographer