To tell Andy’s story, you must also tell the story of Andy’s women: beautiful, fashionable, often tragic, and Edie Sedgwick crucial among them.
‘Outer and Inner Space’
by paul a. As its title vaguely implies, Outer and Inner Space is primarily concerned with personal (inner) and public (outer) spheres of societal life — even as […]
Vested Interest – ‘My Hustler’
by Luise Mörke “I could introduce you to people… interesting people,” Ed Hood’s character in My Hustler (1965) promises the object of his desire (Paul America) in exchange […]
‘Vinyl’
by Will Sloan It’s cliché to observe that Andy Warhol’s filmography resembles the evolution of cinema itself. Warhol begins, as did Edison and Lumière, with silent films that […]
Riding Lonesome – ‘Lonesome Cowboys’
by Caden Mark Gardner Lonesome Cowboys was shot in the Arizona winter of 1968, a year before Easy Rider became the counterculture crossover hit to polarize America, months […]
Warhol and Morrissey’s Horror Double Feature – ‘Flesh for Frankenstein’ and ‘Blood for Dracula’
by Nel Dahl Low-budget horror cinema’s potential to unexpectedly reverse its initially mixed reception is epitomized by the strange afterlife of Paul Morrissey’s Andy Warhol-produced double feature, Flesh […]
Cannes 39/90/? — An Interview with Étienne Gaudillère
by Yoana Pavlova If the invention of cinema towards the end of the XIX century is the crowning achievement of man’s attempts to master reality, the XX century […]
The Awkward Altbau – Urban Structures and Dreams of the Future in Konrad Wolf’s ‘Solo Sunny’ (1980)
The destruction of a building: more important than the brief moment of the blast are the hours leading up to the detonation.
JD 2.0
Since the official start of the pandemic one year ago, I have found myself thinking about Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975) every now and then.