In film or on stage, performance is a strange thing. Sometimes, the audience values showmanship and wants to see the raw talent of a performer laid bare under the lights. Sometimes, we crave realism – some indefinable feeling that the thing we are seeing on screen is genuine and true, their soul laid bare instead. To achieve one of these is rare, the stuff of chilled spines and tears. What then when an actor pulls off both, simultaneously? And, what when both leads of a film do so? Well, that’s A Star is Born. That’s magic.
Boots Riley is the truth. His directorial debut, Sorry to Bother You, is one of the most bizarre cultural commentaries you will ever see. The targets of Riley’s critiques vary, from broad concepts like race relations and corporate greed, to more specific ideas like viral fame and code-switching. But the setup is simple: Cassius “Cash” Green (Lakeith Stanfield) is a black man in Oakland struggling to make his rent – which he owes to his very generous uncle. He’s hired for a telemarketing job, but fails to find success until he listens to a seasoned veteran: use your white voice. Armed with the pleasant, non-threatening voice of a milquetoast white man (David Cross), Cash quickly climbs the corporate ladder – and stumbles into the weirdest things along the way.
Ari Aster’s Hereditary opens simply: the white letters of Ellen Graham’s obituary blazing on a inky background. The matriarch is survived by her daughter Annie, an artist who creates miniature dioramas of her everyday life. We see one of her miniatures now: a cut-out model of her home in the forest. As we zoom in, we focus on a bedroom belonging to her teenage son Peter. Slowly, the miniature room fills the screen until the facsimile becomes reality and Peter’s father walks in to wake him for his grandmother’s funeral. From this point forward the line between reality and fantasy, between the actual and the imagined, will remain blurred.
In Avengers: Infinity War, Joe and Anthony Russo accomplish many small miracles on the way towards crafting one of the most interesting films in the Marvel Cinematic Universe (MCU). Though previous iterations of the Flagship Get-Together Movie have buckled under the weight of too many characters with too much to do (Avengers: Age of Ultron and Captain America: Civil War, especially), Infinity War deftly isolates characters into distinct groups, thereby localizing their stories, goals, and actions. Furthermore, though practically every film in the MCU brandishes a makeshift villain, Infinity War finally gives us Thanos, a three-dimensional and fascinating villain with a cabal of sadistic and distinct generals. The action set pieces are all up to the same high standard that we have come to expect from the MCU, and the new interactions between old characters add some nice spice to the film. Avengers: Infinity War shouldn’t work; it should be too big, too busy, and too safe, bursting for the seems with one too many formulaic superhero movie tropes. Instead, it is the perfect distillation of what the MCU should be: fun heroes, terrifying villains, and high stakes.
In The Cleaners, Hans Block and Moritz Riesewieck launch an expose on a peculiar underbelly of social media. With a conspiratorial opening that casts whistleblowers in the total anonymity of darkness, we learn about the Content Moderators. These are men and women working for subcontractors hired by Facebook to click through photos, videos, and other content to decide whether or not a piece of content is appropriate for the site.
These mediators are expected to view 25,000 pieces of content per day and decide whether they should delete, allow, or report the content. They have strict guidelines, but that doesn’t protect them from seeing terrorist beheadings, child pornography, suicide videos, and all manner of terrible things.
This thankless job comes with an even darker side to it: the guidelines that these Content Moderators are using can function as censorship just as easily as they can function as protection. It’s…
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Pablo Bryant begins his documentary with two clear defenses of free speech. This first is a title card that overtly warns the spectator that this is a free speech area, and the second is a story related to the camera by the subject of the film: cartoonist Mr. Fish. The story he tells involves himself, as a child, writing obscenities on paper airplanes and fantasizing about fighting the system when it was discovered that he was the author. Of course, he just got reprimanded by his mom.
Mr. Fish is a fascinating subject for a documentary. He’s an iconoclastic offender without care or remorse for where he points his cross hairs. His aim is deadly, and his artistic skill deft. He offends the Right and the Left indiscriminately, and almost seems proud of the fact that his notoriety makes earning a consistent paycheck a real difficulty.
Mr. Fish: Cartooning from…
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