Philippa Snow

  • Nancy Oliver, Angelyne, 2022, still from a TV show on Peacock. Angelyne (Emmy Rossum).
    film May 19, 2022

    Under the Pink

    NOW THAT THE TRUE IDENTITY of the eccentric Los Angeles personality Angelyne has been exposed, one crucial question still remains: Is she a celebrity, or is she a performance artist? Best known for appearing on a series of eye-popping billboards across LA, beginning in 1984 and peaking in the ’90s with two hundred simultaneous ads, she is a self-made, heavily augmented pin-up who became famous for being famous when Kim Kardashian was still in preschool. Barbie-like, almost comically pneumatic, she was never advertising anything on those billboards other than her own existence, making the whole

  • Giuseppe Capotondi, The Burnt Orange Heresy, 2019, DCP, color, sound, 99 minutes. James Figueras, Berenice Hollis, and Joseph Cassidy (Claes Bang, Elizabeth Debicki, and Mick Jagger).
    film August 05, 2020

    No Expectations

    IN AN EARLY SCENE in The Burnt Orange Heresy, Elizabeth Debicki and Claes Bang are sharing a postcoital cigarette, their chemistry as smoldering as its cherry tip. He is James Figueras, an ambitious and self-centered art critic whose face, at fifty-something, has the lived-in patina of a fine bronze worn down by bad weather; she is Berenice Hollis, a young, blonde American with a Modigliani build and the affectless, steely manner of an old-school femme fatale. The two have just met, and fucked, and they are talking about what might happen next in their affair: “A week from now, I’ll be planning

  • Greg Berlanti and Sera Gamble, You, 2019. Season 2, episode 1. Joe Goldberg and Love Quinn (Penn Badgley and Victoria Pedretti).
    film January 16, 2020

    L.A. Gory

    UNTIL VERY RECENTLY, the 1991 film L.A. Story was hands down the best satire of Los Angeles as told from the perspective of a man experiencing a possible psychotic break. Harris K. Telemacher—a TV meteorologist played by Steve Martin—is an egghead who loves Shakespeare but finds himself drowning in a sea of Angelenos who get furious in traffic, love colonics, order a “half double decaffeinated half-caf, with a twist of lemon,” and remain incapable of enjoying culture unless it happens to be the probiotic kind. He has two love interests: a woman with the unbelievably dumb name SanDeE*, who is

  • Brian De Palma, Hi, Mom!, 1970, 35 mm, black-and-white/color, sound, 87 min. Be Black, Baby sequence: 16 mm, black-and-white, sound, 18 minutes.
    film February 05, 2019

    Coercive Theater

    ABOUT HALFWAY THROUGH Brian De Palma’s 1970 film Hi, Mom!, a white woman, dazed and recently raped, gives a fuzzy exit interview on camera. “Well, [New York Times theater critic] Clive Barnes was really right,” she says. “It was some experience. I’m gonna tell all my friends that they’ve gotta come.” The experience she’s referring to is Be Black, Baby, an immersive opportunity (and Hi, Mom!’s film-within-a-film centerpiece) for well-heeled white people to, per the title, temporarily “be black.” If this white woman and her kin had predicted correctly that they would be given “soul food” and be

  • Henry Hathaway, Niagara, 1953, 35 mm, color, sound, 82 minutes. Rose Loomis (Marilyn Monroe).
    film March 29, 2018

    It Felt Like a Kiss

    A BLONDE IN HOT PINK and a wrap as white as a wrap of pure cocaine steps out into a good-time party on what looks to be a balmy summer night, and sizzles. What she’s looking for is not sex, but a song.

    It’s fair, and obvious, to say she looks like sex; she also looks like Marilyn Monroe, this being Henry Hathaway’s Niagara (1953). Her character, Rose Loomis, is marked from the start as liberated, sexually adventurous, and thus imperiled. Rose is living in a cabin at Niagara Falls with George (Joseph Cotten), her husband, and is sleeping with a man named Patrick (Richard Allan). She and Patrick

  • Michael Haneke, The Piano Teacher, 2001, 35 mm, color, sound, 130 minutes. Erika Kohut (Isabelle Huppert) and Walter Klemmer (Benoît Magimel).


    “FROM THE START, pianists have an uphill battle to become good musicians, because of the essentially mechanical nature of their instrument,” the critic Nicholas Spice once wrote of Glenn Gould. “Where string players, wind players and singers are obliged to involve their bodies and their breathing in their technique, pianists can sit at their keyboards like computer operators.” If the piano is a kind of machine, one could say that hands—famously fetishized by Michael Haneke’s cool gaze in The Piano Teacher—are the link by which the pianist yokes herself to the machine. Or, better,