NEW REVIEWS
Can't display this module in this section.Can't display this module in this section.Can't display this module in this section.Can't display this module in this section.
Oscar History
Film Bitch History
SMACKDOWN INDEX
Can't display this module in this section.
Welcome
Can't display this module in this section.Can't display this module in this section.
DON'T MISS THIS
Can't display this module in this section.
COMMENTS
Can't display this module in this section.Can't display this module in this section.
Keep TFE Strong
Can't display this module in this section.
What'cha Looking For?
Can't display this module in this section.
Subscribe
Can't display this module in this section.

Recommend Doc Corner: The Cinematic Surprise of 'The Royal Road' (Email)

This action will generate an email recommending this article to the recipient of your choice. Note that your email address and your recipient's email address are not logged by this system.

EmailEmail Article Link

The email sent will contain a link to this article, the article title, and an article excerpt (if available). For security reasons, your IP address will also be included in the sent email.

Article Excerpt:

Glenn here. Each Tuesday bringing you reviews of documentaries from theatres, festivals and on demand.

One of the many benefits of doing this weekly column is not just talking about the sort of documentaries that we may be discussing throughout award season, but also being able to highlight those that deserve haven’t a hope that nonetheless deserve the attention. Such is the case with Jenni Olsen’s The Royal Road, an essay film that trades in experimental and avant-garde traditions as a means to explore deeply personal topics.

Using dry yet curiously hypnotic narration, Olsen swerves between discussing Californian history, a long-distance relationship with a woman named Juliet, classic Hollywood movies, and the effects of nostalgia (the latter of which even features a voice cameo by Tony Kuschner). Her film a progression of beautifully captured California vistas of San Francisco, Los Angeles, and everywhere in between, filmed on 16mm by cinematographer Sophia Constantinou whose perfectly composed 4:3 ratio images recall the works of James Benning and offer a striking visual component that elevates the film to the status of true art. By using real film and embracing all of the dots and speckles that come with it, Constantinou’s work adopts the history of the worlds she is filming while also embracing Olson’s edict that nostalgia can be good.


Article Link:
Your Name:
Your Email:
Recipient Email:
Message: