Professor and programmer Maggie Hennefeld explores the world of forgotten silent film actresses and archivists’ struggles to rediscover lost film art.
LARB’s Best: Film
LARB’s Best: Film
The essays that follow are about interpretation and about that desire to get closer. The writers have only their prose — and, granted, a few screenshots here and there — to get us closer to the medium of film, its history, its form, its politics, and its ontology. Their readings are sly and surprising, astute and ambitious. It has been our honor to support these writers in their efforts, to learn from their fresh perspectives, and to bring their words and ideas to the readers of the Los Angeles Review of Books.
— Annie Berke and Anna Shechtman
This digest is part of our year-round celebration of our 10th anniversary. To celebrate with us, please visit our anniversary page!
J. D. Connor explains what “Citizen Kane” would look like if it had only industry politics and no real ones: it’d be “Mank.”
Megan Moodie details her own experiences with chronic pain and illness alongside a critical assessment of Jennifer Brea’s documentary “Unrest” (2017).
Swagato Chakravorty on the rediscovery of Ritwik Ghatak’s films, and what it says about how Western cultural institutions frame the idea of world...
Beatrice Loayza writes time-loop rom-com “Palm Springs” as millennial manifesto.
D. A. Miller on the mainstream gay-themed movie, the Beautiful Life, and "Call Me by Your Name."
Anne Anlin Cheng on "Ghost in the Shell."
Wendy Hui Kyong Chun considers the future of "Blade Runner 2049."
Chicago, to Lee, is a city of visions, visions susceptible to the restorative, conciliatory power of art, as well as to art's destructive influences.
All versions of "A Star Is Born" in various ways worry away at the ambiguity in the title. What does it mean to say a star is “born”?