It is hard for African-American women with darker complexions to become successful actresses because producers and screenwriters are hooked on exotic black females who look more multiracial than solely black.
It took me some time to come to terms with it, but my earliest memory – both in life and of film – is of the “No Easy Way Out” montage sequence from Rocky IV, a movie that is most definitively an 80s picture. On the NOLA Film Cast podcast, I commented that I wasn’t […]
Spread among six stories, Scruggs is never a chore or a bore, but it does drag once or twice. I admit this may be with purpose - the whole film is made up of frames with urgent and long-lasting purpose - but it still exhibits and exposes a stretching notion.
Suspiria is no riddle wrapped in an enigma but it is rich with unspoken but understood behavior, registered by that charge running up and down the spine. Off the screen and into your dreams and nightmares, this film goes. Our begs and cries prove useless when faced with the imagination of others. Just go with it.
Thunder Road can best be described as a guaranteed crowd-pleaser, with a subversive edge. It’s slick and straight up wacky in how events play out and bleed into one another, but also homey and comforting in seeing and understanding the strange but perhaps healthy by way of mostly odd behavior a personal journey inward can be.
New Orleans has several groups that provide excellent service to our moviegoing culture. Perhaps we can lead the charge in an industry thinking differently?
From the 2018 fest - the 29th Annual - and for your enjoyment, I have made available below three experiences in the form of interview, transcription, and review, that cover two award-winning movies and a genre/theme that is scarcely discussed.
Cane River, last shown in 1982, has since been relegated to myth, legend, and a sort of film purgatory following the death of director Horace Jenkins. It was restored and re-premiered at the 2018 New Orleans Film Festival.
The True Don Quixote had its world premiere at the New Orleans Film Festival, and Big Easy's Bill Arceneuax offers his review.
Mary Elizabeth Winstead is no stranger to performing as a survivor on film. A while back, she portrayed an alcoholic in Smash, a kidnappee in the midst of a global incident in 10 Cloverfield Lane, and the object of many a toxic relationship in Scott Pilgrim vs. The World. She exudes an empathetic brokenness amid […]
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