Ten years and three days ago, Lehman Brothers collapsed. People around the world woke up the next day to the start of the one of the largest global financial meltdowns in history. In the United States, millions of Americans lost their homes, their jobs, their sense of security and their faith.
If you’re like me, you’ve been watching A24 films for a while without realizing it.
“The Florida Project” is a film that is purposefully small and ironically, wonderfully rich.
As with all of Anderson’s films, “Isle of Dogs” is a visual masterpiece: Somehow Trash Island looked stunning.
“Annihilation” disturbs, unsettles and makes your skin crawl. It raises questions and opens discussions. It requires and demands repeat viewing.
2016 was an interesting year. Here at Cadenza, we like to think it was because of all of the stellar entertainment.
This Thursday, over 20,000 filmmakers, cinephiles and everyday moviegoers will descend on St. Louis for the Annual Whitaker St. Louis International Film Festival.
After months of reading about his work and watching the film “American Night” (2009) on my laptop at home through Vimeo, I finally got the chance to sit down with artist Julian Rosefeldt. The Berlin-based contemporary artist, filmmaker and professor visited last Friday to deliver a lecture at Washington University in conjunction with the opening of his exhibition at the Mildred Lane Kemper Art Museum.
American artist Alex Prager knows how to capture a character. Her film “Face in the Crowd” (2013), showing now at the Saint Louis Art Museum, pulls at the heartstrings of anyone who has ever felt lonely. Whether it is a divorced grandmother from Long Island pouring her heart out in a dark and secluded room, a quiet Asian man sharing his belief in true love or the famous actress Elizabeth Banks, lost amidst a chaotic sea of strangers, Prager perfectly portrays so many universal human emotions in her frames.
To say it was controversial would be an understatement. Anti-Semitism, excessive violence, scriptural deviation—the charges leveled against it were numerous and fierce, with many coming months before the film’s release. It certainly didn’t help that Mel Gibson—no Boy Scout himself—was the film’s primary creative force. (He both directed and co-wrote it.