Coming of Age to Coming Full Circle: An Essay

This essay is by our guest writer, Maddy Lovelace. 

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Amira Casar and Timothée Chalamet in Call Me by Your Name (2017) © Sony Pictures Classics

It is evident in the way Elio Perlman’s entire psyche is altered by mature graduate student Oliver within the summer of 1983 that there is a new funk hidden in this archetype we’ve seen before, possibly a homage to film in previous times that mirrored life and love and sensuality. Director of 2017’s Call me by your name Luca Guadagnino’s direct view of these themes can be attributed to similar work such as James Ivory’s 1987 film Maurice, revealing just how impactful an insightful reception of a cinematic journey can be upon a wandering eye. There is a direct link between the lovers in the two films, how they carry their heavy consciousness regarding love around like a summer coat. Coming of age continues to carry this magnified burden of life through the generations, consequently allowing itself to unfold through emerging artist’s diverse and retrospective lenses. In Guadagnino’s usage of Elio’s ambiguous yet direct understanding of his sexuality, he plays to this new medium that audiences of cinema have come to love because they parallel the undertones of the self that linger within the events at hand. Elio is not shocked by the way his love for Oliver takes place so hauntingly because he knew, as audiences come to feel in the film’s soft essence, Elio knows of his truth long before Oliver arrives. Oliver in this sense serves as the catalyst for Elio’s subconscious desires that have been there since the beginning yet remained dormant. Guadagnino captures the fire and flame of Coming of age cinema in his perceptive parallelism to reality. Could this be the new standard for films based on
a shifting point in life?

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The Florida Project: Don’t Let Moonee’s Fortress Deceive You

This essay is by our guest writer, Nina Liang.

As a dweller of this hellhole state, I can assure you that The Florida Project is the only saving grace to come out of Florida since Publix’s BOGO deals. This film truly sets you up for a party-of-one crying fest and leaves you feeling so frustrated, heartbroken, and helpless. At least for me, those were the three most profound emotions I felt during the movie, which is one of the reasons why this film stood out to me. As filmmakers and storytellers like to say, there’s always a truth in every story; however, in a much deeper sense, The Florida Project is more real than you could say about most films because of the subject the film tackles. Many of us can’t say we know what it’s like to really empathize with Moonee’s childhood and yet, somehow it feels as if we’ve lived through it; the struggles of  poverty, an unstable home life, young motherhood – themes that are strongly prevalent in today’s society.

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Willem Dafoe and Brooklynn Prince in The Florida Project (2017) © A24

Moonee (Brooklyn Prince), a precocious six-year-old, is a court jester disguised as the princess of the Magic Castle Motel. During her summer break, she and her little groupie go out of their way to cause mayhem for the residents and even manage to light an entire house on fire. However, while Moonee and her friends are off on their crazy adventures, the adults are left to pick up the pieces. At first glance, Moonee seems to only be a force of destruction but we soon realize that she’s learned to mirror this behavior from her young troubled mother, Halley (Bria Vinaite). Bobby (Willem Dafoe) the overseer and protector of his royal pink castle acts as a faux guardian to Moonee. He tries to keep everyone in check, but more importantly plays the main father figure role not only to Moonee but to Halley as well. While Moonee seems to be oblivious of the hardships around her, we see the adults dealing with unstable finances, implied drug use, and prostitution.

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Sculpting in Time with Andrei Tarkovsky

This essay is by our guest writer, Vikram Zutshi.

When people first encounter the cinema of Andrei Tarkovsky, it can feel akin to a religious experience. Time seems to stand still and one beholds the world as if through new eyes. “My discovery of Tarkovsky’s first film was like a miracle. Suddenly, I found myself standing at the door of a room the keys of which had until then, never been given to me. It was a room I had always wanted to enter and where he was moving freely and fully at ease“ rhapsodized Swedish auteur Ingmar Bergman. “I felt encountered and stimulated: someone was expressing what I had always wanted to say without knowing how” he said, adding that “Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.”

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Andrei Tarkovsky on the set of ‘Stalker’ © Sergey Bessmertniy

Born on April 4th, 1932 in the Yuryevetsky district of Russia, Tarkovsky made only seven films over the course of his career, cut short by terminal cancer on 29th December, 1986. Tarkovsky’s works Andrei Rublev, Solaris, Mirror, and Stalker are regularly listed among the greatest films of all time. After his death, some former KGB agents testified that the director did not die of natural causes but was poisoned to curtail what the Soviet authorities saw as production of anti-Soviet propaganda. The allegations were backed up his doctor.

Tarkovsky came of age as a filmmaker in 1950’s Russia, during a period referred to as the Khrushchev Thaw, during which Soviet society grew more accepting of foreign films, literature and music. He was able to see films of European, American and Japanese directors, an experience which influenced his own ouevre. He soaked up the films of the Italian neo-realists, French New Wave, and of directors such as Kurosawa, Buñuel, Bergman, Bresson, Andrzej Wajda and Mizoguchi.

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The Dark, Wild, Feminist Liberation of “The Witch”

This essay is by our guest writer Cassidy Olsen. 

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© A24

The phrase “Satanic feminist art film” will get you laughed out most rooms that aren’t a liberal arts classroom or the Hot Topic in your hometown mall, so it should come as no surprise that A24 struggled to brand The Witch for audiences upon its wide release in 2016. Written and directed by first-time feature filmmaker Robert Eggers, The Witch is a horror movie by almost any standard, riddled with the genre’s usual tropes of supernatural possession, exorcism and things that go bump in the night, but it has little regard for audience expectations. By relying on period-appropriate language (“Wouldst thou like to live deliciously?”) and opting for meditation in place of jump scares, The Witch left hardcore horror fans wanting and others asking, “What did I just watch?”

The answer? Well, a Satanic feminist art film.

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Tipping the Scale: An Oscars Think Piece

This essay is by our guest writer Edina Alix. 

In the Twitter bio of the Academy of Motion Picture Arts and Sciences, it reads “we champion the power of human imagination.” In the last ninety years of the academy’s existence however, this “human imagination” has been overwhelmingly straight, white and male. In this year’s Oscar nominations alone, only one of the five directors nominated for best director was a woman (Greta Gerwig for “Lady Bird”) and her presence in the prestigious lineup marked the end of an eight year dry spell of the exclusive “boys club” of male directors in the category. Dee Rees (Mudbound) was snubbed of a best director nomination, marking yet another year that no women of color were nominated for best director. What was truly shocking was that this year marked the very first time that a woman was nominated for best cinematographer (Rachel Morrison for “Mudbound”) in the entire history of the Academy Awards.

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Rachel Morrison, the first woman nominated for the Academy Award for Best Cinematography

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