Tag: film analysis

Angel Wings and Texan Martyrs: On Wim Wenders

by Jacqueline Valencia Note: This is part of These Girls On Film’s coverage of TIFF Bell Lightbox’s On the Road: The Films of Wim Wenders Wings of Desire will be playing at TIFF Bell Lightbox on March 5th I say it often and I say it loudly, it is a horrible

On Peter Handke’s The Left-Handed Woman (1978) an analysis

  by Jacqueline Valencia Note: This is part of our coverage of  TIFF Bell Lightbox’s On the Road: The Films of Wim Wenders  This essential retrospective devoted to one of the giants of the New German Cinema features new digital restorations of Wenders’ essential early works. Jan. 28 – March 6,

On Jack Cardiff’s The Girl On A Motorcycle (1968)

by Jacqueline Valencia ****Spoiler alert: part analysis and part review. See the film if you can.******* “Just touch me and I won’t go.” – Rebecca When I talk about film, I’ll go on and on about the lack of lonely women movies. There are plenty, in fact the world is

On Jonathan Glazer’s Under The Skin (2013) – analysis (spoilers)

by Jacqueline Valencia The mulling over of Jonathan Glazer’s Under The Skin is an entirely different beast than the actual watching of the film. In fact, I started writing this sentence a few months after writing the one before it. I had to re-watch it and digest it, read the

On Panos Cosmatos’ Beyond the Black Rainbow (2010)

  by Jacqueline Valencia This is an analysis and not a review per se. THERE ARE SPOILERS EVERYWHERE HERE so THIS IS A SPOILER ALERT! A SPOILER ALERT!  DANGER, WIL ROBINSON! I recommend you watch the trailer, go see the film, then come back here if you’d like an interpretation

On Nicolas Winding Refn’s Only God Forgives (2013)

by Jacqueline Valencia (this analysis originally appeared at: http://jacquelinevalencia.com/2013/07/23/only-god-forgives-my-analysisreview/) My one problem with Only God Forgives was that it was sold as a hyper violent action, kickass fight flick with an intelligent twist. It’s not. It’s hyper violent and intelligently done. There’s little fighting in it though and you’re not going

On Kenneth Anger’s Lucifer Rising (1972)

by Jacqueline Valencia Lucifer Rising is perhaps the  most elaborate of Kenneth Anger‘s films. With locations in Egypt, England, and Germany, Anger conned the Egyptian government into believing he was making a documentary about Egyptian peoples. In fact, he was making a film about Egyptian gods summoning the age of Lucifer. The

On Richard Rush’s The Stunt Man (1980)

by Jennifer Valencia Richard Rush‘s The Stunt Man (1980) uses a variety of elements from different genres to tell its story. From action the stunt man scenes to the drama revolving around the relationship between the two main characters: a film director, Eli Cross (Peter O’Toole) and Cameron, a.k.a Lucky

On Alan Resnais’ Last Year of Marienbad (1961)

by Jacqueline Valencia The thing about this movie is how it keeps repeating. It gets copied, distorted, spliced, and re-analyzed through other people’s films ad nauseam, and with good reason. The genius in Last Year of Marienbad is in its reiteration of enigmatic patterns that obfuscate real meaning in life.

On The Coen Brothers’ Inside Llewyn Davis (2013)

by Jacqueline Valencia NOTE: This is more of a rambling analysis of the film, therefore it contains some spoilers. If you require a review if whether I enjoyed it or not, I did, hence the ramble. On my last trip to New York City, I spent a longer than usual

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