Doc Corner: Tribeca '21 — 'Socks on Fire' and 'North by Current' explore queerness in rural America

By Glenn Dunks

It’s thankfully no longer all that rare to see stories of queer people in rural settings. Especially in documentary. But that doesn’t make it any less special to see their stories—once so often relegated to traumatic narratives centering violence—told by queer filmmakers. Two films in particular at the recently wrapped Tribeca Film Festival examined the changing dynamics of (some) American small-town life. Both take elements of memoir and even non-traditional storytelling to create unique films that make strong arguments for the sheer human decency that many in minority communities desire.

While Bo McGuire’s Socks on Fire and Angelo Madsen Minax’s North by Current tell stories that confront the still very tangible realities of being LGBTQ+ outside of the more accepting big cities, they do so with artistic flair and the confidence that comes from generational change...

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Revisiting 1989's International Oscars: Cinema Paradiso vs Camille Claudel vs Jesus of Montreal

by Nathaniel R

You've gotten to know Juan Carlos a little bit as a new contributor here at TFE. He hosts a podcast "The One Inch Barrier" which is how I sought him out to join us here. Each episode looks at one year of the Best International Feature Film race at the Oscars, moving backward chronologically. Each season covers one decade. I've finally made the time to guest-star, for the season four premiere to discuss a year that's deeply embedded in my history: 1989... aka the year my beloved Pfeiffer lost Best Actress. We discuss Italy's winner Cinema Paradiso which is all about moviegoing and nostalgia (so appropriate for the now), France's presumed runner up Camille Claudel (which was also nominated for Best Actress for Isabelle Adjani), and Canada's provocative Jesus of Montreal. A few other films make cameos, too, including Hong Kong's Painted Faces which is randomly streaming on Netflix; it was not nominated but makes an interesting companion piece to Cinema Paradiso.  

Please do share your feelings on these four films, none of which we've discussed on the site! 

Curio 2020: Ten movies that will inspire artists

Curated by Nathaniel R

Gorgeous AND THEN WE DANCED collage from Istanbul based artist "Pervane"

Each day we're doing a "year in review" list. When Alexa used to do her Curio series we got a fine overview of what type of films generally inspire artists. The well known classics, of course, but also movies with queer sensibilities, movies from auteurs, movies of any genre outside of drama / comedy but especially horror. The magic ingredient just might be movies and stories that lend themselves to visual reinterpretation or perpetual discovery or which are courting cult favor in some way by their nature or their aesthetic choices. Not every movie that deserves mass fandom gets it. We're dying to know for example what contemplative moving American stories like Nomadland or Minari might bring out in artists? What would cartoonists or painters make of emotionally severe but visually rich movies like Russia's Beanpole or Chile's Ema?  And why isn't every online sketch-machine obsessed with Riz Ahmed's face, tats, and platinum hair in Sound of Metal? Whyyyyyy?

Without further ado here are 10 films from 2020 that we think will continue to inspire visual art. If you click on the links you can see more from that particular artist. Most of them have merch shops or take commissions...

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Review: The Last Vermeer

By Abe Friedtanzer

I know that 2020 has felt like an eternity for a number of reasons, but how is it possible that this never-ending year has given us not one but two lackluster movies about art starring Claes Bang?

The Burnt Orange Heresy, about an art critic and a reclusive painter, was released in theaters by Sony Pictures Classics right before the pandemic hit and then rereleased in August since it barely had any time to make an impression (not that the experience of seeing it does that either). Now, Bang is back as a Dutch Jew investigating the actions of an eccentric artist accused of collaborating with the Nazis in the immediate aftermath of World War II in The Last Vermeer…

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The Furniture: On Frida's Mirrors and Diego's Walls

Daniel Walber's series on Production Design. Click on the images to see them in magnified detail.

Nearly 20 years on, Julie Taymor’s Frida remains both breathtaking (those Quay Brothers puppets!) and befuddling (why isn’t it in Spanish?). It holds up better as a visual experiment than as a biopic, despite the richness of Salma Hayek’s performance. Filmmakers have long struggled to bring the lives of visual artists to the screen in dynamic, resonant ways. Some fail.

When Frida does succeed, it’s largely due to its Oscar-nominated team of art director Felipe Fernández del Paso and set decorator Hania Robledo. Their work doesn’t simply represent the art of Frida Kahlo and Diego Rivera, but interprets it. By transforming Kahlo’s paintings into the stuff of cinema, they directly engage with their meaning - or, rather, Taymor’s own interpretation of those meanings. The result is a film with a lot to say about materiality and identity, the value of brick and the value of life.

We begin with Frida’s bedridden journey to her first solo show in Mexico City. She is carried out of the house aloft, head resting on an embroidered pillow that reads “Amor” and “Tesoro Mio.” But then we see her through her eyes, as she looks up to the mirror into the canopy of her bed, the flowers reflected back at her.

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