Nick Pinkerton

Family Circus

Nick Pinkerton on Tizza Covi and Rainer Frimmel’s Mister Universo

July 2017

TIZZA COVI AND RAINER FRIMMEL’S MISTER UNIVERSO, a simple, modestly-scaled road movie made with delicacy and feeling, centers on the quite self-centered Tairo Caroli, a lion tamer in a small Italian circus who is in the habit of having his … READ ON

FILM

Super Mario

Nick Pinkerton on Mario Bava

July 2017

THE CINEMATOGRAPHER-TURNED-DIRECTOR is a dicey proposition: For every success story like Jack Cardiff or Nicolas Roeg there’s a Gordon Willis’s Windows (1980) or a Christopher Doyle’s Warsaw Dark (2009) or other examples that aren’t even … READ ON

FILM

Haunted House

Nick Pinkerton on David Lowery’s A Ghost Story

July 2017

TO ATTEND ONE’S OWN FUNERAL, hiding in the church gallery, like Tom Sawyer and Joe, is a cherished American boyhood dream, and something close to the jumping-off point for David Lowery’s A Ghost Story, a leap into the blue which lands very … READ ON

FILM

Going Ape

Nick Pinkerton on “Simian Vérité” at Anthology Film Archives

June 2017

SINCE THE CINEMA has faced such a long struggle for respectability as an art form, it’s only understandable that some of its advocates resent being reminded of its unbreakable bond with the lowest common denominator. How else to explain that… READ ON

FILM

The Importance of Being Ernst

Nick Pinkerton on the “The Lubitsch Touch” at Film Forum

June 2017

ERNST LUBITSCH WAS BORN in booming Berlin in January 1892 and died much too young in Hollywood, California, in 1947. He was a German Jew of age to have served in one World War and to have been a likely civilian casualty of a second, but by … READ ON

FILM

The Heart of Maryland

Nick Pinkerton on the 19th Maryland Film Festival

May 2017

WALKING OUT OF BALTIMORE’S NEWLY RESTORED PARKWAY THEATER, I was in a daze after having watched a 35-mm print of Agnès Varda’s magnificent Vagabond (1985)—the first time analog film had been shown in the building in more than forty years. I… READ ON

FILM

Lies, All Lies

Nick Pinkerton on Anocha Suwichakornpong’s By the Time It Gets Dark

April 2017

IF, LIKE SOME OF US, you have grown comatose through repeat exposure to the cluster of festival fodder clichés often grouped under the unsexy sobriquet “slow cinema,” there’s reason to feel antsy at the opening of By the Time It Gets Dark, … READ ON

FILM

Czech Please

Nick Pinkerton on “Ecstasy and Irony: Czech Cinema, 1927–1943”

April 2017

THE ENORMITY OF INTERNATIONAL FILM HISTORY is daunting; you might devote a decade to seeing everything from 1932 alone and never, ever get to the bottom of it. In the face of such bounty, the response is often inexcusable apathy—see, for … READ ON

FILM

Young Love

Nick Pinkerton on All These Sleepless Nights

April 2017

“A WHILE BACK, if I remember right, my life was one long party where all hearts were open wide, where all wines kept flowing.” This is how the nineteen-year-old Arthur Rimbaud bade adieu to his carefree salad days at the opening of A Season… READ ON

FILM

League of His Own

Nick Pinkerton on Wesley Snipes

March 2017

IN A STORM-TOSSED MODERN WORLD, Wesley Snipes’s Twitter feed is an island of calm. It’s heavy on nostalgia—with production photographs from the set of White Men Can’t Jump (1992), for example—and rather profound conversation prompts (“At what… READ ON

FILM